• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.370-379
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• 2024

In this paper, we explore the historical development and revolutionary impact of music in mass media across various forms, including radio, television, film, and digital platforms. The evolution of music in mass media reflects significant technological and cultural shifts over the past century. From the early days of radio to the advent of digital streaming, music has played a crucial role in shaping the types of mass media. Early radio broadcasts in the 1920s relied on live performances and recordings to captivate audiences, establishing music as a central element of media content. The rise of television in the 1950s brought new opportunities for music integration, with theme songs, variety shows, and music videos becoming staples of TV programming. The film industry further revolutionized the use of music, with iconic scores enhancing cinematic storytelling and emotional depth. The digital revolution of the late 20th century introduced new formats and services, expanding access to music and transforming consumption patterns. Recently, streaming platforms and social media allow for personalized music experiences and direct artist-fan interactions. Through an analysis of technological advancements, this study highlights the integral role of music in enhancing narrative, evoking emotions, and creating cultural identities. We present our understanding of this evolution to provide insights into future trends and potential innovations in the integration of music with mass media, including the use of artificial intelligence and virtual reality to create immersive auditory experiences.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.223-230
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• 2019

This paper aims to derive the specificity of film music of Baz Luhrmann, a Hollywood film director, focusing on his representative works such as Dancing Heroes, Romeo and Juliet, and Moulin Rouge. Frist, Dancing Heroes captures various dance music genres through dynamic shooting techniques and shows trendy sensibility by using the main theme song 'Time after Time,' sung by the main character, Tina. Second, Romeo and Juliet, the original work of Shakespeare, keeps thier lines and stories while decorating gorgeous fashion and rock music in jukebox style. Also, it is harmonized with the most modern and trendy MTV-style video. Third, Moulin Rouge presents film music through the 'mix and match' method, which consists of jukebox-type trendy songs containing classical back stage musical and Bollywood musical images. In conclusion, the style of Baz Luhrmann has been reborn as a unique way of directing Buz Luhrmann's film music that it is expressed by connecting various juke box style music with amazing visual effect. Through director's style, it is possible to suggest the direction of various film music to the industries.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.151-156
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• 2019

In recent years, the Korean realistic theme of the film momentum gradually rising. Realistic films do not stick to the business and market, and do not simply cater to the audience's needs for watching movies. They reflect social violence and cruel reality, allowing the audience to observe the structural contradictions in reality and think about the direction when watching movies. At the recent cannes film festival, "parasite" won the top prize palm in cannes by an overwhelming margin, with the highest score of 3.3 issues. Although this film is positioned as a thriller with comedy elements, it presents the opposite life images of Korean classes to the audience in a parasitic way, which not only expands the possibility and artistry of realistic film aesthetics, but also enhances the appreciation of the film and gives play to its own aesthetic value. Focusing on the technical and literary nature of the film, and having a high degree of attention to real life, it is an excellent work that tells about class opposition and thinking about reality. This paper considers and analyzes the content, form and creation method of parasite, and discusses the continuous exploration and attempt of realistic film to image language under the demand of market and system, evolving into new aesthetic expression.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.61-62
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• 2019

애니메이션 영화에 있어서 음악은 영화의 예술적 퀄리티를 향상시키는 도구가 되었다. 본 논문은 애니메이션 영화의 주제곡을 애니메이션에서 어떻게 연기할 수 있는지, 애니메이션 음악의 창작과 서사 간에 서로 밀접한 기능과 관계를 탐구한다. 이를 위한 연구는 첫째, 애니메이션과 음악에 대한 이론적인 고찰하며, 둘째 애니메이션 영화 <코코(Coco)>의 사례 분석하며, 주제곡 위주로 음악의 기능적 특징이 애니메이션으로 어떻게 표현되는지를 다룬다. 이에 주제곡은 주제 내용과 중심인물을 둘러싸고 일정한 음악적 이미지를 형성하고 주제를 심화기능을 가지고 있음을 알 수 있다.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.441-450
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• 2019

The research of this paper is aimed at finding out the meaning of the literary rhetoric technique of metaphor in film, and understanding the difference between metaphor and symbol. It is also worth reference to the study of metaphor in the future. This paper will read the related paper to organize the relevant concepts and look at the classical film repeatedly, and find the expression element of the metaphor in it. Finally, look at Truman Show and analyze it and find a conclusion. Through related research, we have found that metaphor in movies is always built together through various aspects of themes, titles, lines, and plays. It provides clues through the screen and induces the audience to think. Metaphor not only helps improve the movie's content, but it is also the most important feature in the movie to influence the audience and induce thinking.

• Trans-
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• v.1
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• pp.91-116
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• 2016

The theme of this research is the music visualization on stage. As the collaborated work, combining the dance, images with the Isang Yun's music, is showing the staged music, which is expressing the music not only through the sound but also the visualization. In the process of visualizing the music through the body and images on the stage, Isang Yun's musics are recreated in the hand of today's artists. The study found that the recreated work from the new point of view, like Interview with Isang Yun can be the bridge between the composer and today's artists and we can see the future through it. Even though, this paper analyzed the work through the aspects of dance and images, the main theme of the work is focusing how can we deliver the music in the new representative form through formative visualization on the stage.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.261-270
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• 2020

In film, color is a tool for storytelling and a metaphor for a story's theme. This study constructs efficient and objective data by analyzing color images of movies delivered to the audience. This Research the visual perception process of color in films and studies the processes accepted by the audience. Through this research process, we examine the emotional response caused by the visual stimulus of film color and quantify the visual factor through color in the film as a factor that effectively induces the emotional response of viewers who watch the movie. This study analyzes the mise-en-scene of Wes Anderson's film, Royal Tenenbaum, and studies the role of communication in cinematic colors. Quantitative analysis of color distribution data is performed using computer color analysis program on the colors displayed through 10 chapters of mise en scene. Through color analysis, it was analyzed that Anderson composed the movie scenes in red and yellow red (YR) with low saturation and medium brightness. Through this analysis, we study how color is used throughout the film and how the quantitative form of its use is to be used as the psychological factor controlling audience's emotion.

• Cartoon and Animation Studies
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• s.41
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• pp.511-531
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• 2015

The underlying impetus of the birth of animated film is attraction about a moving image. And the animation image occurs from the process of performative relationship between an animator and apparatus. Therefore, analysing the method how the moving image is constructed will be the focal starting point to deal with an animated film as a text. In this context, that conveys the theme in more sensuous way will be examined in a dimension of the material, technique and image-making method. KIM Jin-man's is a Stop Motion Animated Film with Noodlescreen about a journey of a fish that wishes to go outside of the water. KIM created original and friendly images out of plain thin noodle which is a common ingredient in Korea, and dealt with the ontological introspection based of the concept of Nondualism. Nondualism based on the interconnected and cyclical eastern philosophy which is different from the western dualistic theory points to the idea that the universe and all its multiplicity are ultimately expressions or appearances of one essential reality. This paper focuses on KIM's recent work and sees how Nondualism is applied throughout the animated film by analysing the performative method of mediums, technique, and structure. First of all, the form of Noodlescreen will be reviewed in Chapter Two. Pinscreen Animation which was invented by Alexander Alexeieff and Claire Parker will be also compared with Noodlescreen in the aesthetic viewpoint here. In Chapter Three, it will be analysed how the description of the image of binary opposition itself provides expanded sense and rich metaphor. Lastly, the format of Mise-en-abyme going constantly towards outer space will be dealt how it exposes the cinematic illusion and spatiality in Chapter Four. Throughout the whole chapters, it will reviewed how the concept of Nondualism relates the images of and deactivate the boundary of binary opposition in terms of both the story development and the visualization method. By this methodology, it will be confirmed that image of animated film not only explains the narrative but also activates the perception about the theme and provides integrated sensory experiences in the independent and expanded dimension.

• 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.

• Korean Institute of Interior Design Journal
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• v.21 no.2
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• pp.65-73
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• 2012

Interior design generally falls behind to architecture in its concept of conservational value as interior designs are more to the simple style or trend. Therefore, This study aims how the society and the major events in the 1960's and individual and group desires are portrayed in movies through the eyes of movie directors, and further how the concept of spaces and the features of the spaces are displayed. First, This paper analyzes the movies in the 1960's, especially the expressionism and psychological zeitgeist in "The Housemaid" directed by Kim Ki-Young that can be logically analyzed, following the signs in the movie. Secondly, It analyzes the images captured the scenes that best describe the underlying theme of the movie, revealing the features of the different spaces for different scenes. Moreover, It analyzes the correlation of the change in value, desire, and space of the time in the 1960's to see the feature of the spaces in the 1960 are represented in the movie. In conclusion, the realistic expressionism movie of Kim Ki-young's 'Housemaid' showing the everyday life of a family against the background of industrial capitalism reveals the intimate desire of the time with the director's perspective on the history. With Mise-en-Sc$\grave{e}$ne, we can understand the space structure of the time, the view on space structure and further the effect of modernization project on urban residential area.