• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• Cartoon and Animation Studies
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• s.29
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• pp.1-36
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• 2012

The (2003) by Pixar, by succeeding at box office hit with good criticism, could be the film that made Pixar the most influential animation producer. Especially such character oriented narrative strategy, by raising the degree of characterizing and relationship, could made remarkable achievement as it is called a textbook of characterizing. This study focused on the inherent fear and desire of characters in . The inherent fear and desire were assumed to be the elements that strengthen characterizing and relationship more dynamically. In general, every single choice and behavior of human beings are likely to be depending on fear and desire, it is believed that human's life is dominated by those two elements. In this point, the characterizing of has three big features. It is that (1) it clearly described the fear inherent in characters and the effort to avoid the fear better than any other films of Pixar. (2) it strikingly accords with the interaction of characteristics of fear and desire established by Enneargram personality types. (3) the way of relieving fear of the main characters (Marlin and Nemo), as a unique feature of rescue and escape plot in which two characters are being apart, is not by interaction of characteristics of two main characters but is by characterizing the spiritual value supplementary to the deficiency of main character as sub character (Dory and Gill). In the previous study, , characterizing of panda 'Poe' is too outstanding and this fact is working as paradoxical limitation. On the other hand, set up of fear and desire of two main characters, Poe and Shifu and dynamics of characteristics are very delicate and effective. On the other hand, in the , in the course of settling down the conflicts between two main characters, father and son, it shows fresh and firm narrative structure with various characters and sub plots. However, though the degree of described fear and desire of main characters are very outstanding, it still reveals it limitation that the course of settlement is somewhat dependent. In conclusion, this study is considered to be another approach to animation characterizing, and also hopefully can be helpful in characterization and setting up relationships in the future.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.319-331
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• 2020

This study investigated the meaning of absolute music of the first movement of Brahms' symphony No. 1, which was used as film music in the films "Tetro" and "Savages" and interpreted the meaning of this music used in these two films. Therefore, the purpose of this study is to explore the characteristics that classical music can be interpreted ambiguously in films. In particular, it was examined whether film music could be interpreted in a new meaning rather than a program music. The first movement of Brahms' symphony No. 1 is in a sonata form and has the characteristics of a chromatic grammar of the romanticism. In "Tetro", the irony about the value connection between this music and the characters of the film, the composition process of this music and the historicity that appeared in the character story of the film presented important. On the other hand, in "Savages", the chromatic grammar of this music expresses the emotional meaning of the characters in the film and the atmosphere of the event. This can be said to be the role of program music. In particular, the scene in which this music is used at the end of "Tetro" shows an ambiguous characteristic that can interpret a piece of music in different meanings depending on which of the two characters appearing in the film interprets the music from the perspective of the character. And the fact that Brahms spent 21 years to complete this music and that Tetro, the main character of the film, spent about 10 years before going through theatrical scenario and submitting it to the festival in the film, coincide with each other in terms of historicality. This gives the meaning of understanding film music from a new point of view, not from the point of view of absolute music or program music. In addition, this musical setting made the music recognized as an essential element of the film and as an irreplaceable auditory theme. When classical music meets other art such as film, this ambiguity Characteristics of music will have a great influence on the new perception of classical music.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.507-517
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• 2020

Along with the development of computer graphics, real-time rendering, motion capture, and artificial intelligence technology, virtual being that enables two-way communication has emerged in the content industry. Although the commercialization of technologies and platforms is creating a two-way communication virtual being, there is a lack of analysis of what characteristics this virtual being has and how it can be used in each field. Therefore, through technical background survey and case study for the production of virtual being, the two-way communication virtual being is analyzed on the characteristics necessary for emotional exchange. The characteristics needed for emotional exchange were divided into interaction, individuality, and autonomy, and this characteristic is classified as the focus and how two-way communication virtual being will be used in the content field. This study is expected to provide significant implications for the research of content production and utilization using virtual being as a basic study of virtual being, which analyzes the technical background and characteristics for two-way communication required for virtual being production.

• Cartoon and Animation Studies
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• s.24
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• pp.173-197
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• 2011

Through a story, the audience moves between fiction and reality. A story is an emotional experience that appeals to human feeling. The rational function of a story is to convey knowledge and information, and its emotional function is to touch the audience. Moreover, these aspects of a story are linked to its language, text, and imagery. This paper focuses on the emotional function of a story. In a experiential story, the audience's emotional response is a result of maximum dramatic communication between them and the characters. Through psychological and mental communion with the characters, the audience becomes immersed in the story when they emotionally identify with the characters, and dramatic communication is achieved. However, dramatic communication is mostly achieved instantaneously. The elements of a film need to be realized to sustain dramatic communication such that the audience continues to be immersed in the story. The audience can identify with the characters who are placed in real-life situations by considering the characters' external and internal aspects. External search pertains to the tangible aspects of the character such as its background, life, and conversation. Through the audience's external search, the characters communicate with the audience. Internal search deals with aspects of the characters' personality such as their self-concept, desires, and internal conflicts. Through internal search, the audience understands the inner side of the characters. In this process, a film director should ensure that the acting depicts the inner side of the characters. In other words, the director should perfectly depict the internal and external elements of a human on screen. Appropriate visualization can lead to dramatic communication with the characters and thereby create the audience's emotional response. Considering these techniques, this paper focuses on the scenes of the film "Poetry" in which dramatic communication with the characters creates the audience's emotional response. Accordingly, the audience plays a role in sustaining dramatic communication for the physical screen time of a film.

• The Journal of the Korea Contents Association
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• v.9 no.10
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• pp.148-158
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• 2009

Recently, media contents are moving frequently between different media. TV, film, musical or animation, adapt killer story to each other. This tends to develop the new possibility of distribution of media contents. This study will analyse the trend of content industry. Particularly, we will focus on TV dramas, films and musicals : 61 samples have been extracted by Naver website. As a result, remakes have been increased since 2006. TV dramas and films have been used the most for source genres. Particularly, the story of films have been transferred for almost every genres including musicals.

• Journal of Advanced Navigation Technology
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• v.12 no.2
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• pp.164-169
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• 2008

This paper is using motion tracking by image segmentation to monitor intruders and to confirm based on mobile the relevant information. First, detect frame in animation that film fixed area, and make use of image subtraction between two frame that adjoin, segment fixed backing and target who move. Segmental foreground object to the edge detecting the location specified by the edge of the median estimate extracted by analyzing the motion of the intruders to monitor. When a motion is detected, the detected image is transmitted by using the W AP pull basis image transmission method on the mobile client data terminal.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.6 no.2
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• pp.282-287
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• 2002

This paper action tracing by techniques to do image sequence component to watch invader based on Mobile internet use. First, detect frame in animation that film fixed area, and make use of image subtraction between two frame that adjoin, segment fixed backing and target who move. Segmentalized foreground object detected and did so that can presume middle value of gouge that is abstracted to position that is specified and watch invader by analyzing action gouge. Those watch information is stored, and made Mobile client send out SMS Message about situation of watch place to server being stored to sensed serial numbers, date, Image file with recording of time.

• Journal of Arbitration Studies
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• v.19 no.2
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• pp.229-243
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• 2009

The content industries environment has been undergoing significant changes due to rapid technological innovation and content market expansion. Interest in the industry is growing fast both in Asia and Europe. However, in Japan content industries are showing almost zero growth with no increase in overseas expansion. Until now, Japanese content industries have been able to grow based on domestic demands. Many different factors contributed to today's zero growth in Japanese content industries. Two main reasons are: 1) Their lack of interest in overseas expansion and 2) Insufficient investment in domestic human resources development. Considerable amounts of Japanese contents including films, music, games, and animations have been distributed in many Asian countries and today piracy problems in the region are at a serious level. According to 2004 records pirated editions accounted for 85%, 16%, 19%, and 36% in China, Korea, Hong Kong, and Taiwan respectively. Pirated editions bring economic losses to Japanese copyright profits. Making it worse, they weaken the motivation to create content and make it hard to activate cultural exchanges. Losses from copyright violations in Japanese content industries are expected to keep increasing in the future. In order to make Japan competitive and grow it is crucial to take proper measures to protect copyright infringements. This study considers the current situation of the Japanese content market, infringement issues in content which is causing many problems in Asian countries, including China, and facts about losses caused by this problem.

• 한국만화애니메이션학회:학술대회논문집
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• 2011.05a
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• pp.66-77
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• 2011

1895년 영화가 탄생하면서부터 영화가 예술로서 인정받기까지 오랜 시간이 걸렸듯이 영화가 그 교육적 가치를 인정받기까지도 상당히 오랜 시간이 걸렸다. 즉, 영화가 소비 지향적이라는 비판에서부터 영화는 집에서만 봐도 충분하다는 식의 편견까지 이러한 오해를 불식시키기까지 짧지 않은 시간이 흘렀다. 영화 자체가 교육적 대상으로 인정받기 시작한 것은 1964년 영국영화연구소에서 나온 "영화교육(Film Teaching)"에서 영화교육의 필요성이 논의된 이후에 자연스럽게 그 가치를 인정받기 시작했다. 한편 2004년부터 예술강사 지원사업에 의해 영화교육의 대중화가 본격적으로 이루어졌고, 한 해 뒤인 2005년 만화애니메이션교육이 대중화시대를 열었다. 이렇듯 만화애니메이션교육과 영화교육은 그 교육적 접근은 오래되지 않았지만, 교육과 관련해서 전문적인 동시에 대중적인 측면도 함께 지니고 있다. 다시 말해서, 대학교육에서 이론적이고 실제적인 교육이 이루어지고 있지만, 대중적인 영향력을 통해서 초 중등학교에서 많은 관심을 가지고 있는 교육영역이다. 이렇게 다양한 층위에서 진행되고 있는 만화애니메이션교육과 영화교육을 문화예술교육이라는 범주에서 살펴볼 것이다. 이는 전문예술인 양성을 위한 전문교육인 아닌 초 중등학교에서 이루어지고 있는 문화예술교육이라는 관점에서 바라볼 것이다. 특히 한국문화예술진흥원의 예술강사 지원사업을 중심으로 현재 진행되고 있는 만화애니메이션교육과 영화교육을 점검할 것이다. 그리고 영화교육에서 진행되고 있는 교직과정을 살펴봄으로써 만화애니메이션교육도 이러한 제도적 뒷받침의 필요성을 밝힐 것이다.