• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.131-138
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• 2019

In general, film acting refers to American method or Hollywood method. Hollywood method is a term to denominate collectively actors from Group Theatre of Lee Strasberg which accepted Russian Stanislavski's system as American acting. We can find out the origins of Korean acting in the attitude of actors who imitate Hollywood. Hollywood method, which seem to be more systematic and rational in the previous Sin-pa, has begun to be accepted in the fields of actors, directors, critics, and educators. The perception of Hollywood method in Korea is part of the search for the identity of Korean film acting. This article approaches from the perspective of four fields. First, it is Korean actors' perceptions about Hollywood methods. Second, I examine the attitude of the direction of staff and technical aesthetics regarding Hollywood method. Third, it is evaluation aspect in criticism area. Fourth, it is an aspect of education.

• Journal of Digital Convergence
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• v.12 no.5
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• pp.403-413
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• 2014

This study is to select educational films suitable for enhancing creativity and personality in order to develop educational contents aimed at pre-service early childhood teacher. First, three film critics based on sub-elements of ego-identity selected final 59 films. Next, three education experts classified the 59 films into small groups based on components each for creativity and personality. As a result, first, films classified according to pre-service early childhood teacher' sub-elements of ego-identity, educational components for creativity, and educational components for personality were 8 in job, 7 in religion, 6 in politics, 7 in philosophical life style, 8 in friendship, 8 in relationship, 7 in gender role, and 8 in leisure activity. Second, verifying suitability of film critics and education experts using Delphi method in order to select educational films to enhance pre-service early childhood teacher' creativity and personality based on films was effective in increasing validity of the results of this research.

• Journal of Acupuncture Research
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• v.26 no.6
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• pp.187-203
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• 2009

Objectives : Korean director Bong Joon-ho's movie 'Mother' is a story about a woman who struggles to save her son from an indictment of murder. This movie premiered at the 2009 Cannes film festival. The present study aimed to investigate the various roles of acupuncture in the plot from the perspective of movie professionals, including critics, writers and producers. Methods : We investigated the meaning of acupuncture as a subject matter in this movie. Participants who work in the film industry or are studying film were included. Survey questions were organized in a two part open-ended questionnaire and in multiple-choice form. The questionnaires were distributed via e-mail or the subjects were contacted directly. Results: In this movie, acupuncture serves at least three roles. The first role it serves is as a symbol of the mother role in her son's life and in her community. Acupuncture also works as a conduit for communication and a means of earning a living for the mother. She strives to clear her son's name by discovering the real murderer through performing acupuncture. Finally, the acupuncture box is crucial in the son's understanding of the mother's role in the crime. Seventy-nine percent of those surveyed responded that acupuncture was an important motif in this movie. Conclusions : These findings, in addition to those of previous studies, suggest that acupuncture can serve as a useful context for mass communication in media. The understanding of the meaning of acupuncture in the movie provides useful information on the perception of acupuncture modality today.

• Trans-
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• v.2
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• pp.75-94
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• 2017

The film director is the responsible for artistic quality of the film. In Hollywood, the director considered as a technician only visualizes the given scenario. In the 1950s, young critics of the Cahiers du cinéma, who were at the center of Nouvelle Vague, re-qualified some Hollywood directors, for example Alfred Hitchcock, Howard Hawks and John Ford. They are considered "auteurs(authors)" because their films have their own styles. In France, the word "auteur-directoir" is often used in the film production. It refers to the person who writes the original screenplay of a movie. Auteur's legal definition of copyright is set out in Article L.111-1 of the Intellectual Property Code: "the auteur of a work of the mind enjoys the work by reason only of its creation, of an exclusive intangible property right and opposable to all. On the other hand, in the definition of producer, it is the natural or legal person who takes the initiative and responsibility for the realization of the work according to Article L. 132-23 of the same code. We study here the competence and responsibility of the French director as an "auteur" by consulting the two types of contract: director-technician and author-director. We rant to offer a reflection on the position of the film director and the relationship between the director and the producer.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.181-190
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• 2020

Asura: The City of Madness, which was released in 2017, attracted great attention even prior to its release with the combination of Director Kim Sung-su, and actors, Jung Woo-sung, Hwang Jung-min, Ju Ji-hoon and Kwak Do-won. Faithful to its genre as a crime film of film noir, Asura: The City of Madness created multi-layered issues by the overthrow of the archetypal hero character and variation of the heroic narrative structure drew diverse interpretations among both critics and viewers alike. This study aims at analyzing the heroic narrative structure of Asura: The City of Madness based on Christopher Vogler's "The Hero's Journey" and examining how the universality and typicality of narrative structures as mentioned by Vogler are applied to this film. Although the universal and typical characteristics of all narrative structures cannot be analyzed through Christopher Vogler's The Hero's Journey, five atypical characteristics could be derived from this film that deviate from the universality mentioned by Christopher Vogler by looking at the characteristics of the heroic narrative structure implemented as Han Do-kyung, the leading character and a "hero," proceeds through the 12 stages. This study examines which variations such atypical characteristics brought to the heroic narrative structures in crime films what has changed in audiences' expectations, and how it could work as an alternate narrative.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.30-44
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• 2021

The study analyzed Sofia Coppola's early films and to study her views about social frames on women. Moreover, the study shows the connection to Coppola's worldview on women in her other films; and . The study also analyzed the cinematography in her films as Coppola did not convey the messages directly. In addition, the study pursues a re-evaluation on , which was a controversial film among critics, and unravels the uncertain open-ending in . Throughout the comparative analysis, the study reveals that the two films have consistent views that do not differ from each other and that it was the progress to the growth of Coppola's worldview. The conclusion of these two films connects to another controversial content in Coppola's next film. Hence, one expects the analysis of these films to provide a better understanding of Sofia Coppola's other films.

• Archives of design research
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• v.20
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• pp.253-262
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• 1997

The era of film has begun as a few media critics had anticipated already. The interestings of visual designers has asked to being with images in the processing and changing of varied image culture are different from the era of print media. It is reason to being with images that are generalizing of video culture. Now the film of images that made from popular advertisings and goods influenced by films has come. At first to being with image to visual designers need to understand films and to join making films. In films, visual designers make strengthen in part of credit titles. Credit titles are elements in films with the form of text to help understanding in the beginning and closing part of films. Credit title design has begun first by American visual designer Saul Bass as p pioneer position and have made to be varied film credit technics of computer. The advanced of technics have to think aspects of meaning of titles in the film of '007' movie series through 60s &70s. In 80s more technics have developed to being varied credits to films. And after all, in 90s there are films with almost varied titles. In Korean films ars less varied than that of Amenrican's and of French, in this study I hope to develope more varied Korean credit titles in near future.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.75-88
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• 2021

The film won the Golden Palm Award at the Cannes Film Festival, and received the Academy Award for a non-English-speaking film in February 2020, respectively. It has received a monumental evaluation in the world film history. Overall, this film is about class conflict, and critics evaluate the theme of the film as "badly twisted class gap" and "anger from class." The film expresses an intrinsic conflict embodied in culture as a "tragedy in which no bad person appears," rather than the dichotomous composition of the classical class struggle from Marxism. In other words, this can be seen as expressing the substrated class relationship of the modern society that Pierre Bourdieu had argued. This film has been focused as a controversial target under Korea society with excess of ideology. Politics used to adopt the keyword, 'parasite', for political disputes not only in culture contents world. Paradoxically socialism China did not allow to release film 'Parasite.' On the other hand, Lee O-Yong argues that the movie "Parasite" does not look at social phenomena through a dichotomous perspective, but is viewed through a "double perspective" and evaluates that it does not lose eyes looking at humans through tension. This view is based upon 'Vital Capitalism'. Lee. O-Yong looks at the movie "Parasite" from the perspective of "Vital Capitalism". The theory of Vital Capitalism does not seek to find the root of historical development in class struggle conflicts, but rather figuring out history and society pays attention onto the intrinsic characteristics of life, Topophilia, Neophilia, and Biophilia. Lee Eo-ryeong argues that the development of civilization theory evolved from the stage of Hobbes' Darwinism or predatism to the stage of host vs. parasite of Michel Serres, and onto the stage of Margulis's 'Win-Win (inter-dependence)'. In this paper, after overview of vital capital concept and preceeding research, re-interpretations were tried onto scenes based upon fields from habitus, culture capital. This exploration looks for a alternative for excess of ideology in Korea society.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.125-136
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• 2013

Director Choi Donghoon is the most famous director in Korea as a box office successor, especially (2102) has gained No. 1 box office attraction in Korean film history. However some critics have criticised the works of Dr. Choi because of their plebeianness. This paper focused on the reason of interaction with audiences through the theory of carnival of Mikhail M. Bakhtin. Because the theory of carnival is not only the adapted method to account for the power of popular culture to M. Baktin but also the useful method to understand the keys of interaction of Dr. Choi's films. It's not difficult to find the esthetic elements of carnival theory example for 'dethronement & coronation', 'overturn & ridicule', 'image of feast', 'language of square' in the films of Choi which are The Big Swindle(2004), Tazza: The High Rollers(2006), Woochi(2009), The Thieves(2012). Therefore this paper has endeavored that the box office attraction and success of communication with audiences is due to the realistic attitude and social reflection of Choi's films.

• The Journal of Art Theory & Practice
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• no.5
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• pp.25-41
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• 2007

Despite continuous efforts to redraw the boundaries between art and culture, the conventional concept of originality has persisted in approaches to the practice of contemporary art. In the discourse of originality, various forms of lesser arts that employ the method of replication have been referred to as kitsch, or "rear-guard," the opposite of avant-garde. This categorization points to the contested issue regarding the oppositional relation between modernism and mass culture. With its easily accessible content and financial affordability, mass culture has become both an irresistible attraction and a most powerful threat to modernism. This threat has instigated a discursive system that has situated mass culture as a cultural other of modernism. Taking the marginalized category of kitsch as the area of contention, this paper examines a discursive repression of kitsch. It analyzes the conceptual framework that defends originality and autonomy in art and, conversely, degrades kitsch as an inferior and dangerous cultural category. Greenberg'S concept of kitsch as a by-product of industrialization evolved into the criticism that advocates the autonomy of art. The Frankfurt School scholars, particularly Theodor Adorno and Max Horkheimer, practiced comparable cultural critiques. Focusing on mass culture such as film, radio, and television, instead of art works, they critically analyzed the system of mass culture and theorized the negative implications of the ubiquitous presence of kitsch. Some critics, on the other hand, perceived the growth of mass culture as opening possibilities in cultural development. Walter Benjamin and Harold Rosenberg asserted the socio-cultural dynamics of mass culture underlining the potential for continual transformation in reality and in the subject. They acknowledged that technological advances changed the condition of creation and enabled unmediated interactions between media. By scrutinizing conflicting views on kitsch, this paper intends to reassess arts that draw "the forces of the outside."