• 한국실내디자인학회논문집
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• 제24권6호
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• pp.58-67
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• 2015

Expressionism is an art trend that prospered in the early 20th century and was represented in art activities in the diverse fields. As capitalism spread and people underwent wars, people's consciousness became impoverished, and it was created by the artists as a reaction against this, and notable achievements were made in film art and this is called expressive film which still inspires many artists. The modern age is a multicultural age and art is not limited to one area but influences many fields and interchanges and communicates with one another. This study attempts to analyze how an art trend has been passed down and developed and has influenced modern space. The purpose of this study is to derive the keywords of their characteristics through expressive films and to study how expressionism has been transformed and represented by putting them into modern space and to explore new perspectives and directions. First, the theoretical backgrounds of expressionism and expressive films were examined through the analysis of the existing researches, and the types of the characteristics of the space represented in the films were classified. Based on this, the representative expressive films were selected and the keywords of the characteristics of the expressive films were derived. A museum among modern spaces is a space that reflects the art trends and culture of the times and modern spaces are represented best in it. Also, recently the construction of museums has been vitalized and has explosively grown quantitatively and qualitatively, and shows diverse designs to the point that they are called the laboratory of modern architecture, so by analyzing the cases focusing on museums among modern spaces, the conclusion was derived. As a result, it could be seen that the expressive film space is represented diversely in the museums by the architects' inner desire of expression, centering on nonlinear expression, nonobjective form, and representational perception.

• 한국의류학회지
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• 제40권3호
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• pp.554-565
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• 2016

This study analyzed expressive effects of King Henry VIII's costumes in films based on DeLong's (1988) theory. Theoretical analysis was done through a literature research of previous studies from both domestic and international. Empirical research was used as a research tool for visual media such as , , and . An analysis on movie costumes indicated that King Henry VIII's costume almost matched DeLong's (1998) expressive effect on excitement, calmness, strength, and delicacy. King Henry VIII's costumes in films based on DeLong's (1988) theory expressed significant of strength and excitement in terms of expressive effects with some elegance. King Henry VIII's costumes had their expressive effects different according to the intentions of film productions, even for the identical event scenes with the same purpose. The findings of this study can be used as basic data for the research of design and costumes as well as the production of drama stages for historical dramas during King Henry VIII's reign.

• International Journal of Advanced Culture Technology
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• 제11권2호
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• pp.64-72
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• 2023

This paper discusses the technical exploration of Ang Lee's cinematic works and the unique visual beauty he presents. Ang Lee has successfully tackled various themes and genres, creating films that harmoniously blend Eastern and Western cultural sensibilities. These films are technologically innovative and show the interaction between technology and art, industry and culture. Therefore, this paper analyses the correlation between film technology and visual beauty in Ang Lee's works, and explores the discourse on how the relationship between film technology and art has changed with the development of film. Furthermore, this paper aims to provide insights into how technological innovation can enhance artistic creativity. The contribution of this study lies in the in-depth exploration of the relationship between film technology and art, with a focus on technological innovation and the visual beauty in Ang Lee's works. The research findings reveal that Ang Lee's films showcase the application of advanced technologies, captivating audiences with their unique visual aesthetics. The utilization of emerging technologies enables his films to possess not only visual impact but also convey profound emotions and themes. We conclude that technological innovation in film not only provides artists with more creative tools and expressive techniques but also, when combined with artistic sensibilities, creates captivating and visually expressive cinematic works. This discovery offers a new perspective for film production and opens up greater possibilities for collaboration between artists and technology experts.

• 한국엔터테인먼트산업학회논문지
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• 제13권8호
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• pp.255-266
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• 2019

본 연구는 캐나다 출신의 NFBC 소속 작가인 미쉘 꾸르놔이에가 사용하는 Ink on paper 기법을 고찰하고, 이를 통하여 실현된 애니메이션 "Soif"(2013)에 나타나는 표현양식인 메타모포시스(metamorphosis)가 내러티브의 구성을 위하여 구현된 의미와 상징을 고찰한다. 꾸르놔이에는 애니메이션의 사실적인 움직임을 벗어나기 위해 Ink on paper 표현양식을 사용하였으며, "Soif"에서는 극중 여자의 몸 캐릭터를 중심으로 일반적인 기승전결 형식이 아닌 인물과 사물의 이미지 변형을 메타모포시스 표현양식을 통해 보여준다. 이는 초현실주의와 무의식의 세계를 표현하기 위한 애니메이션에서의 즉흥적인 방법을 도입한 Ink on paper 기법을 통해 형상화된다. 그리고 이 작품에 적용된 자동기술법은 애니메이션을 추상적이고 형이상학적으로 표현하는데 영향을 주고 있다. 결국 이러한 표현양식과 기법은 작품에 등장하는 캐릭터의 연계성과 동일성을 강조하여 주제를 표현하는 데 매우 적절하게 작용한다.

• 만화애니메이션 연구
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• 통권16호
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• pp.113-124
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• 2009

이 논문은 2D애니메이션의 표현적 색채를 집중적으로 고찰해봄으로써, 3차원적 공간을 탈피한 애니메이션의 색채가 실사 영화와의 근원적 차이를 보여 주고 있음을 밝히고자 하였다. 재현의 대상이 분명한 매체인 실사 영화와는 달리 2D애니메이션의 이미지는 기계적 재현의 과정을 거치지 않은 인간에 의한 창작물이며, 그것이 드러나는 첨예한 현상이 애니메이션의 표현적 색채라 할 수 있다. 따라서 2D애니메이션에서 표현적 색채는 애니메이션 이미지의 자율적인 의미가 드러나는 중요한 지점이 된다.

• 복식문화연구
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• 제15권6호
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• pp.1063-1077
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• 2007

The purpose of this research is to comprehend the various range of expressions of fantasies and to summarize the expressive effects of fantasies that appear most commonly in today's popular culture such as film and fashion. The followings are the results of the research: Fantasy means a genre of literary arts, which uses magic and supernatural figures as the themes or plots. The characteristics of the expressive effects of the costumes in fantasy movies are summarized as metaphor and symbol, hybrid, otherness, grotesque. After analyzing the costumes in fantasy movies, it is concluded that these characteristics can be conceptualized as the characteristics of the expressive effects in the field of fashion and they can be used as the basis in setting the visual images. This research also aims at recognizing and predicting the fashion trend by understanding closely at the popular cultures, using the films as a tool, which can be led to examining the possibility of combining various popular cultures.

• 복식문화연구
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• 제28권1호
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• pp.96-113
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• 2020

A new form of media is changing the expression and content of fashion. In this paper, fashion films that have appeared since 2010 - when digital fashion communication was increasing - will be discussed and explored to consider how technological transitions in fashion media are changing the appearance and role of fashion. A literature review was conducted to derive characteristics, types, and expressive elements of new media fashion films, which were defined for this study as fashion films produced and distributed since 2010 using digital media. Films were categorized into three types: promotional, editorial, and independent fashion films. Furthermore, elements of the films were identified as fashion mise-en-scene, auditory structure, and content structure. Types and expressions of digital fashion images in 40 fashion films were analyzed according to these elements. The results showed that promotional fashion films maximize various narrative and sensory effects on fashion products, whilst editorial fashion films strengthen the role of entertainment. Independent fashion films expand the area of fashion and promote the diversification of fashion systems. Moreover, the results show that fashion films are not a secondary form of media that just expresses fashion; they provide a tool for the creation of new fashion content. New media fashion films promote the expansion of expressive spectra and boundaries, offering various multisensory experiences of fashion, and enhancing creativity and the aesthetic values of fashion.

• Asian-Australasian Journal of Animal Sciences
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• 제33권9호
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• pp.1470-1476
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• 2020

Objective: This study was carried out to investigate physicochemical properties, and antioxidant and antimicrobial activities of low-fat sausages (LFSs) covered with sodium alginate (SA) film alone and with powder film (TSA-film) formed by cross-linking cherry tomato powder (CTP) and SA with calcium chloride (CaCl₂). Methods: Sausages covered with the biodegradable film were assessed based on the measurement of pH, color (L^⋆, a^⋆, b^⋆), proximate analysis, expressive moisture (EM), texture profile analysis, total plate counts (TPC), violet red bile, and 2-Thiobarbituric acid reactive substances (TBARS) during storage under refrigeration. LFSs wrapped with TSA-film were compared with those wrapped with SA-film and without film (control) during storage at 10℃ for 35 days. Results: The LFSs covered with the mixed film had lower pH, lightness (L^⋆), EM%, TBARS, and TPC, but lower yellowness (b^⋆) and hardness values than those wrapped with TSA-film alone. Conclusion: Lipid oxidation and microbial growth was retarded in sausages covered with biodegradable films, especially multiple films as compared to single film, thereby resulting in extended shelf-life of the LFSs.

• 트랜스-
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• 제3권
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• pp.29-53
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• 2017

영화학자 뱅상 아미엘은 자신의 저서 <몽타주의 미학>을 통해 몽타주의 타입을 크게 세 가지로 나누어 소개한다. 서사 몽타주(Montage narratif)와 담론 몽타주(Montage discursif), 대응 몽타주(Montage decorrespondances)가 그 구분법으로, 이 세 가지의 부류는 거의 대부분의 영화들이 속하는 미학적 부류를 포괄하는 개념이 된다. 초기의 영화들은 편집의 본질적이고 기본적인 기능을 추구했는데, 이러한 성향은 시간이 흐를수록 연출자의 목표를 강화하기 위한 방향으로 수정되었다. 이처럼 서사를 결합시키는 '방법론'으로서가 아니라 '목적'을 지향하는 몽타주의 방식을 본고는 표현적 몽타주(Montage expressif)로 지칭하고, 이를 진정한 몽타주의 개념으로 받아들이며 논의를 시작한다. 몽타주 단계에서 표현적 몽타주 작업은 총 세 단계의 결정을 통해서 이뤄진다. 일차적으로 러시 필름 중 필요한 부분만을 선정하는 '선별'의 과정을 거친 후, 이 선택된 필름들을 일정한 순서대로 결합시키는 '결합'의 과정, 그리고 쇼트의 지속 시간을 고려해 장면연결을 결정하는 '연결'이 몽타주의 마지막 단계가 된다. 물론 예외는 있다. 고전적 서사의 픽션 영화가 클로즈업을 사용할 때, 혹은 모델이나 중성적 동물의 오브제를 사용할 때 영화는 관객의 감정을 끌어당기는 '담론 몽타주'나 '서사 몽타주'가 아닌, '대응 몽타주'의 경향을 유도하고, 이는 몽타주의 일반적 의미를 거스르는 측면에서 예외라 할 수 있다. 본 연구는 이처럼 클로즈업이나 대응몽타주가 사용하는 '콜라주'를 통한 연결, 혹은 '불확실한 연관성'을 지닌 작품의 몽타주 경향을 '현대영화의 파편화(fragmentation) 경향'이라 명명하며 이를 분석하려 한다. 현대영화에서 몽타주의 파편화는 영화의 연속적이고 구조적인 속성들을 깨트리고, 영화의 표면에 가시적으로 드러나는 서사(narration)의 구조를 혼동시킨다. 이처럼 클로즈업에서 시작된 몽타주의 파편화의 경향은 현대적 이미지의 확장성에 관한 해답을 줄 수 있으리라 본고는 바라보고 있다.

• 한국콘텐츠학회논문지
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• 제18권7호
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• pp.120-126
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• 2018

영화는 시청각 예술이고 다양한 시청각적 기법을 활용하여 이야기를 전달한다. 청각적 요소 중 음악은 표현할 수 있는 기법이 매우 다양하고 활용범 위가 넓으며 이야기를 전달하기 위한 독자적인 도구로 사용되기도 한다. 본 연구는 영화 "펀치 드렁크 러브"를 연구대상으로 삼아 영화에서 인물의 심리를 나타내기 위한 음악적 표현기법을 고찰한다. 인물의 내부 심리와 상황의 숨겨진 의미를 창출하기 위한 도구, 즉 영화 이야기 흐름에서 화면에 나타나지 않는 의미를 드러내기 위해 사용된 음악의 활용에 관해 연구한다. 이는 영화음악에서 인물 심리의 대조와 상징적인 표현에 대한 예시와 관점을 제시한다.