• The Journal of the Korea Contents Association
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• v.17 no.6
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• pp.169-179
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• 2017

The historical film is complex genre that give various messages of directors besides a historical fact. Shin Sangok and Lee Joonik are important historical film directors. Their films show director's style by various method of historical reproduction. Sin Sangok and Lee Joonik portrayed same person Yeonsan, in and . They described identical person and historical fact in a different way. This is due to director's view of history, time of reinterpretation of history, and so forth. Therefore this paper is going to analysis the method of representation on history.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.45-55
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• 2006

Korean blockbusters are the works finished by the dialectic of the meeting and collision of two cultures or H. Bhabha's cultural hybridization. They represent things Korean and Western, and yet their borders are demolished to create a new complicated mixture. Typical examples are Swiri, JSA Silmido Taegukgi Whinalimyu, containing a special Korean situation of division ideology and expressing an extremely Western style of production. This thesis will study the present status of Korean film aesthetics through the cultural hybridity.

• Journal of Fashion Business
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• v.9 no.1
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• pp.99-112
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• 2005

The purpose of this study is to create party wear of heroine Satine's image. This study analyzed the costume and its image of the film "Moulin Rouge" which the director Baz Luhrmann filmed the club 'Moulin Rouge' has existed in Paris, France. Catherine Martin, who got the Academy awards in movie costume and art director with this film, made the costume which was added more gorgeous and modern sense for the image beauty for costume in film from the costume design which appeared in the art work of Toulouse-Lautrec painted Moulin Rouge. In the costume form, S-silhouette robe with gored skirt was appeared as usual garment and gorgeous corset style costume which was outer garment like underwear exposed of the body, pleasant apolaustic and decorated excessively was appeared for costume design. Based on the above study, this study created the party wear of the graceful eroticism image and the prostitute eroticism image of heroine Satine. The costume design of Satine's image was planned along the character which was analyzed through this study.

• Journal of Korea Multimedia Society
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• v.16 no.11
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• pp.1348-1356
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• 2013

Disney Animation has showed not only artistic excellence but also technological innovations through a lot of animation films that they released. Especially with the unique concept that free-willed game characters dive into different worlds of games in animation film, received both critical and commercial acclaim for its stunning visuals and outstanding CG (computer graphics) effects. The purpose of this study is to analyze different styles of game worlds, Disney's layout pipeline, and in-house camera capture system used in . This paper analyzes that three game worlds in this film such as Fix-It Felix Jr., Sugar Rush, and Hero's Duty express different styles by using appropriate character animation and camera movements. Especially Hero's Duty game which new in-house camera capture system is extensively used maximizes unseen visuals by perfectly making realistic and believable game world. Disney's newly developed in-house camera capture system, which is used in this film for the first time, allows real camera's motion and shake and real-time camera's movement and correction within animation set. Result of this study proves that this system improves directing of feature animation and enhance efficiency of the layout department's production process. Therefore, it contributes to a great extent to development of animation films' business.

• Journal of Korea Multimedia Society
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• v.13 no.7
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• pp.1105-1114
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• 2010

This thesis is a summary of the research result about the 20 seconds official trailer requested from the Pusan International Film Festival organizing committee. Since producing digital content is very significant at this moment, I tired to make an official trailer for 13th Pusan International Film Festival by integrating 3D animation with ink-and-wash painting. Motivated by a western-style painter, Shin Chang Sic's painting,' Arirang_HopeⅠ(An Official poster), I got to know how to express ink-and-wash painting by using digital technique and considering ink stick depth, line control and color elements for modeling, shading and rendering stage.

• Cross-Cultural Studies
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• v.29
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• pp.7-24
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• 2012

"Duck Hunting" is the most psychological play with unique structure written by Aleksandr Vampilov. The play describes protagonist hero's furious behavior with psychological instability, therefore, this play tends to be recognized as serious and complicated one. After the death of Vampilov, "Duck Hunting" was reproduced as a film, titled as "Vacation in September." This study is designed to shed light on the play's psychological-dramatic factors by focusing on the structure of narrative and spatial-temporal objet. Also, this study compared the screenshots of the play with their textual meanings, then concentrated on main character's psychological features. By focusing on protagonist hero's mind, this study tries to look into the features of the play and its meanings for modern period. The film's plot is a kind of story telling structure based on main character's memory. The short stories of main character represents that Jilov(main character's name)'s losing his own life. The audience can acknowledge that Jilov's life as a duck hunter who is cynical, ideological, lazy, and self-interest oriented person. This play provokes the audience to compare their life to Jilov's one because such comparison helps the audience recognize their lives as surplus style of life with nihilism. Jilov as a character represents one of Soviet's generation with the feeling of great loss in 1960s.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.41-49
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• 2020

Narrative activities are closely related to the space where human beings live and their awareness of space. In the film Parasite (2019), Director Bong Joon-ho demonstrated his unique insights into the spatial layout of the city. He not only built opposing up and down spaces with clear differentiation of distinct classes, but also conducted complex and smooth narratives in space. Bong Joon-ho used realism to express differences and some unresolvable contradictions between the classes in capitalist society by showing the daily lives of people living in different spaces. This present research focuses on Bong Joon-ho's spatial narrative in the film Parasite, hoping to observe the relationship between characters and between social classes, further exploring Director Bong Joon-ho's spatial narrative awareness and his film creation style. The research reveals that space, an important element of film narrative, has been paid attention to in the film Parasite and space is the narrative's foundation in this film. The narrative of film space is not limited to physical space but also refers to the relationship between characters and the society in which they live, showing metaphorical significance. This film transcends a genre film, portraying the changes of social classes in the development of the society. The film as a whole is one combining ideology and artistry. Every viewer can feel resonated from this film and understand the thought-provoking social situation.

• Cartoon and Animation Studies
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• s.27
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• pp.31-49
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• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.106-118
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• 2009

This research is about the changes in the images of Bond and Bond Girl in '007' Series. And it examined through the social background of England from 1960s to 2000s and the costume in the film. The results were as follows: As the era of young fashion was opened after 1960, there was a big change, but Bond was expressed as a hero who had strong male chauvinism of the English aristocratic circles. However, after 1990s, he wore comfortable clothes and he underwent all sorts of hardships. On the other hand, Bond Girl had the image of a sexual target. However, after 1990s, she had sharp appearance and smart brain. Besides, she had professional ideas of a given work and she was changed into a healthy image. Second, Bond's job was an English secrete agent, but Bond Girl had no particular job in 1960s. In 1980s, various professional jobs appeared and in 1990s and 2000s, the professional job which was directly related with Bond's duties appeared. Third, Bond's upper class image was expressed by tuxedo, suit, black, gray, navy, beige, brown, and ivory. His hair was 2:8 parting or Dandy all black style produced his dignified and neat image. After 1990s, he often had casual dress, which created a comfortable image. Bond Girl was expressed feminine style by bikini, underwear, long dress, sky-blue, violet, black, simple costume. After 1990s, she wore a suite, one-piece, or a combat uniform, which showed her professionalism. especially Bond Girl's red dress was used as a psychological color to express temptation, enemy, and betray.

• 한국신재생에너지학회:학술대회논문집
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• 2006.06a
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• pp.110-112
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• 2006

Membrane electrode assembly (MEA) for polymer electrolyte fuel cell (PEFC) are commonly prepared in the research laboratory by spraying, screen-printing and brushing catalyst slurry onto membrane or other support material like carbon paper or polyimide film in a batch style. These hand applications of the catalyst slurry are painstaking process with respect to precision of catalyst loading and reproducibility. It has been generally mentioned that the adoption of continuous process is very helpful to develop the reliable product. In the present work, we report the results of using continuous type coater with doctor-blade to coat catalyst slurry for preparing the MEA catalyst layers In a faster and highly reproducible fashion. We show that while expectedly faster than batch style, the machine coater requires the use of slurry of appropriate composition and a properly selected transfer decal material in order to achieve superior MEA plat lnw loading reproducibility. To make highly viscous catalyst slurry that is imperative for using coater, we use 40wt.% Nafion solution and minimize the content of organic solvent. And the choice of proper high surface area catalyst is important in the viewpoint of making well-dispersed slurry. After catalyst coating onto the support material, we transferred the catalyst layer to both sides of Nafion membrane by hot-pressing In this case, the degree of transfer was Influenced by hot-pressing condition including temperature, pressure, and time. To compare the transferring ability, we compared so many films and detaching papers. And among the support, polyethylene terephthalate(PET) film shows the prominent result.