• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.321-322
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• 2012

정치적으로 볼 때, 한국은 현재 북한과 남한이라는 분단 현실에 놓여있고, 북한은 제 2세계로 분류되어져 왔지만, 경제적으로나 지정학적 위치를 고려해 볼 때 북한은 현재 제 3세계로 간주되어가고 있다. 비록 이런 논의는 논쟁의 여지가 있기는 하지만 대한민국은 제 1세계와 제 3세계의 중간 어느 정도의 위치에 놓여있다고 본다. 소위, 서방과 태평양의 언저리에 놓여있는 실정이다. 본 연구에서는 영상연구방법 중 질적방법론의 사례분석과 문헌연구(한국민족영화운동(Korean National Cinema Movement (1980~1990)의 문헌연구)를 통해 제 3세계 영화, 비(非)서방(Non-Western) 영화들, Third Cinema 와 같은 용어들을 현대 동아시아(East Asia) 영화들을 특별히 한국영화에 적용하여 그 용어와 의미들을 논의하고자 한다. 이 논문에서 도출된 결과는, 글로벌 시대에 모든 영화들이 국적(이념)에 따라 구분 되어야 한다고 생각하지 않으며, 이러한 견지에서 동아시아(한국)의 영화는 반드시 재(再)평가 되어야하고, 제 3세계, 비(非)서방(Non-Western), 제 3세계 영화의 영역에 조심스럽게 재(再)위치해야 할 것을 재(再)조명하고 있다.

• International journal of advanced smart convergence
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• v.12 no.4
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• pp.224-236
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• 2023

This study aims to investigate the effects of telepresence on young moviegoers' flow experiences and social interactions, and the impact on consumer delight, trust, and experience sharing behavior on cinema mobile social network site pages. Given the scarcity of telepresence research, indirect telepresence on experience sharing via two experiences and social interactions is also included. The study used pages from Korean cinema mobile social network sites, and 175 Chinese moviegoers residing in Korea participated. We found that telepresence positively impacts the activity in both human-human and human-computer interactions. We further contend that telepresence positively affects perceived enjoyment and attentional focus. However, perceived enjoyment does not significantly affect consumer delight. We found that consumer delight positively influences consumer trust and movie experience sharing. Moreover, we illustrated that telepresence significantly and indirectly influences consumer movie experience-sharing behavior through attention focus and consumer delight. Our results provide crucial insights for future study and practical managerial.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.6
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• pp.1969-1977
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• 2010

James Cameron's "Avatar" has broken the national record of movie ticket sales, and it caused the boom of 3D and 3D related fields. This research is focused on the appropriate ways to embrace the stereoscopic 3D cinema and the assumable result in Korea. The new stereoscopic 3D is different from the old fashioned analogue 3D, and it has many possibilities that may influence Korean film industry. Since 1990s, the number of Korean film school has increased drastically, and many of those who graduated from the schools would experience fierce job market. 3D converting projects that require a lot of film majored personnels would solve the overly supplied film majored professionals. Through Korea's hundreds of film schools, when they include 3D filmmaking in their curriculum, they can train and educate 3D related staff such as stereographer, convergence puller, and depth continuity artists, and Korea can be an important 3D staff train center in the world. Educating 3D filmmaking can produce a noticeable result in terms of accepting 3D cinema. Stereoscopic 3D cinema has many possibilities in many fields not only in cinema but also almost every fields that related to the imagery. With government's supports, the investments from the 3D related corporations, and 3D education in colleges would be fast and efficient way to embrace and accept stereoscopic 3D cinema in Korea in terms of the size and the profit.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.45-53
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• 2021

Digital morph expresses the imaginary beyond the representation of reality by expressing the narrative effect characteristically. In particular, the effect of affect can be considered to be a characteristic of digital cinema as a post-cinema. In (2013), Morphing image prominently shows the characteristics of post-cinema. By actively utilizing software technology, this film gives a shocking effect by expressing the magical image. Paying attention to the post-cinematic characteristics of morphing different from classical film, this article treated the characteristics of digital morphing. The digital morphing presents the flow of affect visualizing uncanny phenomenon of body transformation. This evokes concept of neuro-image which Patricia Pisters distinguished the neuropsychiatric pathology that appears actively on the contemporary digital screen. The Neuro-image goes beyond the temporality of Deleuze's time-image presenting future. Allegedly, the morphing of presents the neuro-images when Nina's body changed to hybrid body with black swan. Digital Morphing technique provides a shocking effect, showing delirium when the body bizarrely deformed while dancing ballet. This is different from the attraction of the morphing in film, it expresses the emotion of the neoliberal era beyond representation. In conclusion, the digital morphing presents the neuro-image system modulating the shock. This shows the characteristics of digital film which interacting and controling the shock effect as post-cinema.

• Information and Communications Magazine
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• v.24 no.4
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• pp.76-82
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• 2007

영화의 제작, 배급 그리고 상영의 모든 단계를 유기적으로 디지털화하는 디지털시네마는 미래의 초고화질 콘텐츠 기술의 중심이 될 것으로 전망된다. 본 고에서는 Digital Cinema Initiatives (DCI)에서 제안한 Digital Cinema System Specification V.1.0을 고찰하고, 향후 예상되는 영화, 공연, 방송의 융합에 관련된 디지털시네마 기술 동향에 관해 해설한다.

• 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.

• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.146-156
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• 2012

Film was invented by human's desire to copy the real world, starting in the late 19th century. Since the birth of cinema, It was given mission to replay of the real world. On the other hand, cinema was regarded as a fictitious art form. Although the invention of film brought about experience of replaying of the real world it has been reproduced reality with creative story. And it also has been represent reality with sense of reality. Cinema's way of reproduction implied conflicting concept of mimesis. Triple Mimesis of Paul Ricoeur was an idea expanded into an analytical concept from that simple concept of mimesis. The purpose of this study was to examine the prefiguration of shown behavior in Columbine High School massacre based on Triple Mimesis of Paul Ricoeur. It also was to examine a form of representation on cinema which is 'Elephant' and studied how the form of representation on Elephant could interpret by audience. It could be define the relationship between reality and reproduction through this esthetic study. This paper attempted to build the method communication between the originator and audience with a whole analytic process of time and story on the cinematic representation.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.52-61
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• 2013

This study set out to compare and analyze the spaces in the images and sets of the representative movies that led the new heyday of Korean film since 1997 and examine the characteristics of contemporary Korean modernism in the movies, thus building an academic foundation for future exchanges between contemporary Korean architecture and contemporary Korean cinema. As for methodologies, the study first examined the film theories on how to utilize spaces projected onto moving images. Secondly, the study made an overall comparison of the characteristics of spaces in the representative movies of contemporary Korean cinema since 1997. Finally, the study compared and analyzed them with the intrinsic characteristics of modernism architecture space. The research findings were as follows: first, the representative movies of contemporary Korean cinema since 1997 either had a backdrop of everyday modernism space in the 1970s and 1980s or created a new space of late or post modernism in them that escaped from daily life for the mise-en-$Sc\grave{e}ne$ composition. Secondly, the contemporary Korean cinemas used the unornamented modernism architecture in Korea as the props of revealing the personalities and emotional aspects of the characters in a prominent fashion. Thirdly, they also used communication between internal and external space and spatial severance via the facade window in modernism architecture as important devices for narration organization. Finally, they selected the camera positions by applying the principle of open space, which allows for the expansion, reduction, and distinction of space according to functions, and thus established a methodology to create a space fit for the personalities of characters and stories.

• Journal of Astronomy and Space Sciences
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• v.29 no.1
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• pp.23-31
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• 2012

Thermal analysis and control design are prerequisite essential to design the satellite. In the space environment, it makes satellite survive from extreme hot and cold conditions. In recent years CubeSat mission is developed for many kinds of purpose. Triplet Ionospheric Observatory (TRIO)-CubeSat for Ion, Neutral, Electron, MAgnetic fields (CINEMA) is required to weigh less than 3 kg and operate on minimal 3 W power. In this paper we describe the thermal analysis and control design for TRIO-CINEMA mission. For this thermal analysis, we made a thermal model of the CubeSat with finite element method and NX6.0 TMG software is used to simulate this analysis model. Based on this result, passive thermal control method has been applied to thermal design of CINEMA. In order to get the better conduction between solar panel and chassis, we choose aluminum 6061-T6 for the material property of standoff. We can increase the average temperature of top and bottom solar panels from $-70^{\circ}C$ to $-40^{\circ}C $ and decrease the average temperature of the magnetometer from $+93^{\circ}C$ to $-4^{\circ}C$ using black paint on the surface of the chassis, inside of top & bottom solar panels, and magnetometer.

• Cartoon and Animation Studies
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• s.32
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• pp.315-333
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• 2013

This study aims to investigate that today's Mixed Reality Technology did not appear suddenly but has its beginnings in 20th century Visual and Interactive Art. First, Photographic Art expressed three-D on the two-dimensional plane and mixed images of reality and virtuality. Photogram made people experience both two-dimensional images and three-dimensional effects concurrently, and Photomontage combined various photos and mixed reality and virtuality. Next, Cinema tried to combine virtuality and reality using objets and CG. Early Cinema composed films and real objets. As computer technology developed, Cinema composed objet CG on real images and then tried background CG compositing. Finally, Telepresence Art tried a new possibility of Mixed Reality breaking the boundary between reality and virtuality, subject and object. It oscillates between virtual space in reality and real space in virtuality, or represents Mixed Reality by remote control of long distance participants. In the future, for the development and direction of Mixed Reality, there will be more need of referring to Visual and Interactive Art.