• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.521-529
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• 2016

This paper presents the historical development process and expressive style of motion graphics which are intended to artistic expression, and discusses the value of artistic expressions in motion graphics through the works and activities of F5 and Semi-Permanent which are the representative organization of that. Commercial use of digital motion graphics has been rapidly widespread and used in most of the picture contents by changes in the digital video production environment with the development of the computer. Motion graphics begins with a graphic design applied to the motion graphic content and is transferred from the abstract representation of the animation at the same time. Since then motion graphics have been developed as an independent genre on the basis of graphic design and animation, and take the important position for the understanding and development of the contemporary design and content industry. Moreover, the motion graphics which present the experiment of various techniques and the aspect of mixed genres contribute to the development and diversification of the visual image. This paper is covered on not only F5 and Semi-Permanent that have published experimental artistic motion graphics but also the analysis of the developed ways and expressive patters to produce experimental motion graphics of their works. Furthermore, it discusses the experimental artistic value of these works.

• Journal of KIISE:Computer Systems and Theory
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• v.33 no.9
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• pp.650-657
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• 2006

The music is a part of our daily life in these days. And when the people listen to the music, they are affected by the context. However, previous researches on the music recommendation system have the problem that they didn't consider the proper contextual information efficiently. They only used the content-based filtering or the method to use musical metadata (genre, artist, etc.). Recently, there are some researches about the music recommendation system which applies the status(temperature, humidity, etc.) of environments. But, it is difficult to be accepted by the contextual information. Therefore, we propose the music recommendation system that is dynamically applied by the contextual information as well as the metadata in the previous researches. And the system can provide users with the music that they want to listen to, and then the users can be more satisfied. Also, the services can be improved by the feedback of the users. In order to solve this problem, the context-information for selecting a music list is defined and the music recommendation system is designed by using the content-based filtering method. The system is suitable for the user's taste and the context. The music recommendation system we are proposing uses an OSGi framework in the home network. As a result, the satisfaction of users and the quality of services will be improved more efficiently by supporting the mobility of services as well as the distributed processing.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Cartoon and Animation Studies
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• s.48
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• pp.217-247
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• 2017

A brand webtoon is the webtoon to be planned for advertising. It can be appealed like a webtoon, so recently it becomes popular as one of brand storytelling contents. This study looked at the fact that the webcomic artists have released webtoons having apparent style as a series for many years in the online portal site have published multiple brand webtoons. And it analyzed the expression, narrative structure, and character being shared between their webtoon and brand webtoons. Through this analysis, we can look a spin-off phenomenon between their webtoon and brand webtoons. The spin-off phenomenon means a making the other stories basis on character or situation of drama, movie, novel and etc that have already published, like a supplementary story. And we can recognize a spin-off phenomenon in these cases that have the same story style what make an emotion like the genre, concept, world concept, expression style, narrative structure or use the same characters. For this study, It analyzed Kwak baek soo's and 5 brand webtoons including on Naver, Kim yang soo's and 3 brand webtoons on Naver, Kim Jin's and 2 brand webtoons on Naver, and Petermon's and 1 brand webtoon on Daum. And It analyzed how the readers have accepted it through making a comparison between number of recommendations and reply of brand webtoon and the original webtoon in the same esason. This research will be helpful for study about brand webtoon storytelling and also webtoon storytelling through analyzing how the expression and narrative structure of webtoon are adapted to brand webtoon and get likability.

• Cartoon and Animation Studies
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• s.45
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• pp.51-74
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• 2016

Modern society which human rights and woman's right have been risen is asking for equality treatment of women and men in all sectors of society under sexual equality principle. People say that hidden beneath sexual equality's surface is feminism. Feminism had arisen in the directions that rights and opportunities of women and men are equal. But now, feminism has aimed at woman's right acquisition and realization because men have taken the lead in social activities and political participation historically. This study's purpose is to examine feminism through animation which is image media contents. As everyone knows, media is the glass reflecting the times by reflecting the ideology of the times. In that sense, studying the feministic analysis of research trend in animation which is the representative genre in image media is the meaningful research in understanding the trends of the times. As mentioned above, this study analyzed the and which clearly showed feministic trend. The two animations have the character changes which the objectified women as witch meets the subjective women and the women do a self-directed choice and behavior. Use this to find out the trend of subjective and self-actualizing of Postfeminism in our modern society. Also based on this, this study could predict the changing of feminism arising in the future. This study's limit is that this study is hard to find animation research result related feminism. Symposium related to the feminism animation was held in Korea and there are various interpretation on the internet. This is the next study want even deepening.

• Journal of Korea Game Society
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• v.8 no.1
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• pp.15-27
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• 2008

Games can be divided into different genres such as action, adventure, role playing, simulation and etc based on the types of the play provided to a player. And each genre has various kinds of balancing system. Fighting games are classified as one of the action genres. They seem to have a simple structure but there is a variety of complex balancing factors. Because there are quite a number of the fighting games that were developed in a relatively short period, it is possible to identify diverse balancing systems in the fighting games from unstable ones in the early stage to the recent ones in a stable condition. The balancing system allows players to use all the contents offered in the game by eliminating the imbalance created among the various components. It helps players maintain their interest during the procedure. Furthermore, it gives the justification, increases the efficiency of controlling, and develops the empathy in the process. Therefore, the balancing system plays a crucial role in the games when it comes to getting an evaluation and building popularity, which can determine its lifespan. In this study, we researched on the possibilities of expanding an application to the other genres by understanding the established balancing model developed from the case study of the fighting games.

• Cross-Cultural Studies
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• v.28
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• pp.17-36
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• 2012

This essay places the South Korean film Thirst (2009) within Park Chan-wook's oeuvre as a filmmaker notorious for graphic depictions of violence and revenge. Park's use of dark humour in his films, which is emphasized in Thirst perhaps more than ever, allows for a more self-aware depiction of violence, where both the viewer and the protagonist are awakened to the futility of revenge. This ultimately paints his characters as fascinatingly crazy - simultaneously heroes, villains, and victims. Film theorist Wes D. Gehring's three themes of dark humour ('man as beast,' 'the absurdity of the world,' and 'the omnipresence of death') become most obvious in Park's most recent film, which pays closer attention to character development through narrative detail. Rather than portraying the characters as sentimental, dark humour depicts their misfortunes in an alternative way, allowing for consideration of such taboo subjects as religion, adultery, and death/suicide. These issues are further tackled through Thirst's portrayal of its vampire protagonist, which ultimately de-mystifies the traditional vampire figure. While this character has more often been associated with romance, exoticism and the mystical powers of the supernatural, Thirst takes relatively little from the demons of Nosferatu (Murnau, 1922) and various other Dracula adaptations, nor the romantic figures of Interview with the Vampire (Jordan, 1994), and Twilight (Hardwicke, 2008). Instead, it is part of a much smaller group of contemporary vampire films, which are rather informed by a postmodern reconfiguration of the monster. Thus, this paper examines Thirst as an important contribution to the global and hybrid nature of those films in which postmodern vampires are sympathetic and de-mystified, exhibiting symptoms stemming from a natural illness or misfortune. Park's undertaking of a vampire film allows for a complex balance between narrative and visuals through his focus on the Western implications of this myth within Korean cinema. This combination of international references and traditional Korean culture marks it as highly conscious of New Korean Cinema's focus on globalization. With Thirst, Park successfully unites familiar images of the vampire hunting and feeding, with more stylistically distinct, grotesque images of violence and revenge. In this sense, dark humour highlights the less charming aspects of the vampire struggling to survive, most effective in scenes depicting the protagonist feeding from his friend's IV in the hospital, and sitting in the sunlight, slowly turning to ash, in the final minutes of the film. The international appeal of Park's style, combining conventions of the horror/thriller genre with his own mixture of dark humour and non-linear narrative, is epitomized in Thirst, which underscores South Korea's growing global interest with its overt international framework. Furthermore, he portrayal of the vampire as a sympathetic figure allows for a shift away from the conventional focus on myth and the exotic, toward a renewed construction of the vampire in terms of its contribution to generic hybridization and cultural adaptation.

• Cross-Cultural Studies
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• v.20
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• pp.241-274
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• 2010

Due to the remarkable changes in the early twentieth century, the new invention and technology impacted peoples' everyday lives and people started to use the word, modern, to apply specifically to what pertained to present times and to designate a movement in what was new and not old-fashioned-a condition of newness. In the present day, however, the fantastic cultural changes of a century ago have now become commonplace, and what was once considered radically new is no longer a reason to marvel. This paper considers what it mean to be modern, once the new is no longer new. This question seems to remain as complicated and inappropriate to ponder because the consideration and impact of modernity cannot simply end with the end of an era. This paper investigates how the interconnected nature of popular culture provides apt illustrations to reveal the ambivalent nature of modernity and postmodernity. In doing so, first of all, this paper pays attentions to the notion of modernity and popular culture which emerged together in the early twentieth century when technology and mass consumer culture were promoted over the world. Also, it examines how popular culture represents a complex of mutually-interdependent perspectives and values that influence society and its institutions in various ways as the image of modernity continues to build in a postmodern era. That is, popular culture is identified as a large amount of intertextuality or collective experiences due to its intermingling of complementary distribution sources and techonology. Thus, this paper explores that popular culture devotes itself other images or narratives instead of referring to the real world and its output revisits the contemporary or past times in other places, being a means to produce and reproduce the accumulated images of the modern which shapes ceaseless simulacra of modernity over complexities of modernity. In order to find a critical juncture of the complex networks of modernity and popular culture, this paper considers two places, Chicago and Gyeongsung in the 1920s and 1930s in which the rapid modern experience took place and the modern movement forced the two societies to join the mass consumer culture whether willingly or not. Next, this paper considers two movies released in 2002 and 2008 that exemplify the complexities of modernity in Chicago and Gyeongung of the 1920s and 30s: Chicago and Modern Boy. Both films have common themes of the 1920s and 30s such as violence, adultery, femme fatal, and criminal themes with the forms of musical, dance, drama, and romance. Through the textual analysis of both Chicago and Modern Boy, two films are compared in observing the similar and different ways in which two films deal with the theme of modernity when they are represented from the contemporary perspectives. More specifically, this paper questions how modernity is present in contemporary cultural forms such as commercial and hybrid genre films; and how these movies create a new image of modern by embodying the double coding. Ultimately, this paper aims at realizing the paradox of double edged modernity and its ongoing discourse that controls people's consciousness through the medium of popular culture.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.287-326
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• 2016

This study describes the acceptance of Hae-Dong-Yu-Yo(海東遺謠), which is a book the 19th century to 20th century, into the genre of poetry. In chapter 2, I searched for lists, constructions and arrangement of poems in Hae-Dong-Yu-Yo(海東遺謠). The book has not only 39 poems (gasa) in Korean, but also more than 20 poems (hansi) in Chinese. I also found two new poems by the editor of the book. This shows that the receiver fully accepts the poetry and that he has equal consideration for Korean songs as well as hansi ones. In chapter 3, I focused on the red and blue points inside letters. When we read only the red and blue points within the poetry, I realized that Hae-Dong-Yu-Yo(海東遺謠) created these for poetry's literary value, not for music or songs. This reveals how the editor of Hae-Dong-Yu-Yo(海東遺謠) received the older famous poems as his own. This shows us the degree of acceptance of Korean classical poetry and songs, and therefore leads us to believe that this can be of use to present learners as well.

• Cross-Cultural Studies
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• v.51
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• pp.25-44
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• 2018

Modern Japanese "Anti-war poetry" originates from Sino-Japanese war and Russo-Japanese war period. Sino-Japanese war was started by an Imperial rescript of war declared and ordered by the Japanese Emperor to the Japanese citizens. With this declaration, the Emperor gave a message to the population that Objection was not acceptable. This Declaration of Imperial Rescript (Shousho) became justified as being a Crusade or Holy war. Any Anti-war stance was considered an ideology of revolt against the Emperor and his order of Imperial rescript (Okotoba). This was why when Akiko Yosano's "Don't you dare lay down your life" (1904) was published, it received harsh criticisms such as "be punished in the name of the nation". Anti-war poetry as a way of free speech was suppressed. Short poem was especially targeted. Because it is seen as a minor genre, short poem has been passed over. It needs to be reappraised for its importance as a category of anti-war poetry. Notably, modern short poem (New Senryu) has been under oppression and relentless surveillance because of its stance of criticizing politics and society in general by making full use of satire and irony. A supreme example of satirizing of Imperial Rescript on education was the "An anti-war poetry" by Akiri Tsuru. This treatise is a study of how ironical technique from "An anti-war poetry" inverts the meaning of "Imperial decree" and "Imperial rescript".