• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.501-514
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• 2017

The 1920s 'cinema-novel' is composed of various media effects based on cinematic imagination, and it is designed to constantly evoke the image of the film during the reading process. This article focuses on 'cinema-novel' as an example of an unprecedented genre experiment. It is because the process of formation and development of this unique genre is filled with contemporary characteristics of the 1920s art that strived to create a content suitable for the modern art medium.

• 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.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.59-70
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• 2021

This research studies the specific cases of Ryusuke Hamaguchi's re-arrangement of the original novel Net emo Samite mo(2010) by Tomoka Shibasaki to his 2018 film Asako I&II. The study focuses on the difference that has been made between the original novel and the film, which occurred after Ryusuke adapted the novel's "Telling" to the film's "Showing." The presence of the passive protagonist and the repetitions are the elements that have been avoided from the traditional Screenwriting theory for a long. Instead of avoiding it, Ryusuke Hamaguchi inherits these traits of the original novel when re-arranging to his film. Despite the presence of a passive protagonist, Hamaguchi's method of adaption increases the attention of the audience by using the other tools of Hollywood's tradition: the use of goal and want of the protagonist. In addition, Hamaguchi's storytelling strategy captivates both the modern cinema audiences and the classical film audiences by creating a story, which both repetitive structure and normative narrative structure were applied.

• Cross-Cultural Studies
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• v.26
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• pp.445-463
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• 2012

Beltenebros is Antonio Mu?oz Molina's third novel. Its plot originates in a criminal act. Darman, the main character, arrives in Madrid to kill a traitor of the undercover organization to which he himself belongs. Treason is paid with death and Darman is in charge of the executions. The intricate story of espionage and intrigue is absorbing. Unlike other novels of the genre, in Beltenebros we can witness a unique psychological development of the main character. In his fiftieth anniversary, Darman becomes conscious of the painful and devastating effects of his criminal acts on the lives of the people he has crossed paths with. Then, for the first time, he acts like a Romanesque heroe by killing Valdivia-Ugarte, a deceitful mole who has been manipulating the strings of the plot to his own benefit. The story unfolds along an almost uniform progression of chronological time, only interrupted by random memories of a past that twenty years ago destroyed Walter's life, and in which Darman and the rest of the characters are all implicated. Few references to the Spanish Civil War inserted in the discourse are, however, of paramount importance as the depiction of a historical trauma, as a triggering force for the episodes of the novel, or as justification to Darman'scrimes as well as those of the clandestine Comunist Party. Indeed they were the victims of the conflict and the winners inflicted upon them hatred, repression, treason and disloyalty. As in other Mu?oz Molina's novels, the literary space, in this case Madrid, propels the development of the plot, and plays a protagonist role only equal to that of the main characters. It is in Madrid where Darman lives until he becomes prisoner of the enemy army, or where the symmetrical deaths of Walter and Andrade take place. Other spaces inhabit Madrid: the Universal Cinema, symbolic territory of the secret and hidden, where the story, as well as the relationships of the characters start and end the warehouse; or the Bo?te Tab? the nightclub that frequents Valdivia-Ugarte through secret passages connected with the Universal Cinema.

• English & American cultural studies
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• v.14 no.1
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• pp.53-71
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• 2014

This paper is about some aspects of the late-modern representation of antiquity in Western countries. The timeframe is mostly the decades since the 1980s, but some works are also mentioned from previous phases. Some information is given on the late-modern historical novel, characterized by mixture of genres and intertextual references to historical events and contemporary varieties of discourse. Eclecticism would seem to be a characteristic feature, and it mainly consists of a mixture of real events and imagination, cohabitation of ancient settings and modernized characters, and interaction between high and low culture. Commercialization often accompanies novels on antiquity in the $21^{st}$ century. And ideologies such as romanness, germanism and barbarianism are employed by some authors to refer to contemporary realities. A number of films and novels are mentioned. More specific analysis focuses on Valerio Manfredi's The Last Legion and the film based on the book; Simon Scarrow's Gladiator: The Fight for Freedom; and Robert Harris's Pompeii.

• The Research Journal of the Costume Culture
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• v.5 no.2
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• pp.285-295
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• 1997

This dissertation aims to study a role and importance of clothing as a visual transmission system, with investigating the system and structure of a pragmatics in a cinema costume and analyzing what the meaning of a pragmatics is, depending on the circumstance on the circumstance on the basis of pragmatics. It examines as an objective the clothes of Scarlett, a heroine in 'Gone with the Wind's film originated from the novel written by Margaret Mitchell. As a result of this study, the movie costumes demonstrate a purposed transmission medium as a describing tool governing comprehensive circumstances in the process of drama. The costume plays a significant role in delivering a meaning of a movie showing historical backgrounds, social situations, and psychological description, status, characteristics, tastes of characters by means of their costumes in the movie.

• Cross-Cultural Studies
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• v.34
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• pp.201-236
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• 2014

Juan $Mars{\acute{e}}$ was born in 1933 in Barcelona. Being the son of a City cleaner, he was able to watch, from a very early age, all the films he desired, as many times as he wished. This privilege meant a great help in future years, when having to develop the plots and characters of his works. In his last (latest) novel, Caligrafía de los $sue{\tilde{n}}os$, published in 2011, as he has done in his previous works he uses a cinematographic frame again. The explicit references to Hollywood's Golden Age -such as John Ford's Stagecoach and Cecil B. DeMiller's The Plainsman- bring very specific and vivid images to the reader's mind, leading to clear physical and psychological associations. The aim is achieved: the reader's attention is caught immediately. However, characters, plot and cinematographic structures are actually distracting mirages. They make the reader expect a predictable ending which, in fact, will be very different. Therefore, the surprised reader must step back, in order to approach the main topics of the novel from a certain distance. Doing so, he's following the Theory of the Distancing Effect. He becomes aware of the need of a new perspective on social problems that he had considered as familiar justo a few moments before. Thus, he is getting prepared for a more objective interpretation, such as the futility of war and the ideological differences that led to the (Spanich) Civil War and all its devastationg effects.

• Journal of Broadcast Engineering
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• v.9 no.4 s.25
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• pp.391-401
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• 2004

In this paper, we introduce a novel coding method to efficiently enable spatial random access for high resolution video. In terms of resolution and display size, standard display devices (such as cathode-ray tubes. monitors. PDAs, and LCDs) do not sufficiently support high resolution video such as digital cinema and panoramic video. Currently, users have no choice but to view video at lower resolution as a result of down-sampling, or only a partial region of the video due to display size limitations. Our proposed method. which we call the B-map, represents the set of starting locations of the coded segments in a picture frame. This information, or B-map, is first sent to the decoder prior to the coded data stream of the frame and is then used for fast local decoding. To test our method, we compare our B-map with JPEG tiling and the JPEG Resynchronization marker. Experimental results show that the proposed coding method requires less overhead than existing methods during the same decoding time. The results show promise for future panoramic or digital cinema applications.

• Journal of KIISE:Computer Systems and Theory
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• v.35 no.12
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• pp.560-567
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• 2008

In this paper, we discuss a simple and straightforward binarization procedure which can generate black/white comics from the video frame image. Generally, the region of human's skin is colored white or light gray, while the dark region is filled with the irregular but regular patterns like hatching in most of the black/white comics. Note that it is not enough for simple threshold method to perform this work. Our procedure is decoupled into four processes. First, we use bilateral filter to suppress noise color variation and reserve boundaries. Then, we perform mean-shift segmentation for each similar colored pixels to be clustered. Third, the clustered regions are merged and extended by our region extension algorithm considering each color of their regions. Finally, we decide which pixels are on or off using by our dynamic binarization method based on the HSV color model. Our novel black/white cartooning procedure was so successful to render comic cuts from a well-known cinema in a resonable time and manual intervention.

• (The) Research of the performance art and culture
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• no.35
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• pp.339-371
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• 2017

This paper is a study of the film A Deaf, Sam-ryong by Na Un-kyoo released in 1929 at Choseon theater. This study compared the partial scenes of the currently remaining A Deaf, Sam-ryong with related scenarios and original works, after the restructuring of the structure of A Deaf, Sam-ryong and was written for the purpose of reviewing it. The film A Deaf, Sam-ryong is based on Na Dohyang's novel A Deaf, Sam-ryong. However, in the process of adaptation, it was a work that strongly reflected the intention of Na Un-kyoo as a scenario writer. The study of these intentions has to reorganize the remaining scenes at present and rely on research methods to compare them with related scenarios or original works. Even if a situation that makes it difficult to draw clear conclusions is drawn in this research process, we can not but dismiss the method of this research itself if we can not stop the purpose of restoring the loss of Korean cinema. As a result, this study is devised to carry out this study, which had been discontinued due to the lack of work and related data so far.