• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.516-526
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• 2019

As with all narrative forms based on media, the narrative method of TV human documentary is closely related to the change of broadcasting environment. In 2017, the world's first terrestrial UHD broadcast was launched in Korea, and in September of that year, KBS broadcasted the UHD special documentary series. , made of UHD capable of ultra-high definition video and immersive audio, showed a narrative approach completely different from the existing TV human documentary. Instead of all-out narration, which was considered an essential element in the TV human documentary, it used the modest first-person narration of the characters, while actively using drones capable of various compositions to express the psychology of the characters in detail and enable viewers' immersion. In addition, the Montage editing technique, an editing method that has not been attempted in TV human documentaries, utilizes the narrative development method of 'showing' as a video without 'explaining' with narration. After , many similar narrative documentaries are broadcast, and the flow and direction of TV human documentaries are changing under UHD broadcasting environment.

• Journal of Digital Contents Society
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• v.18 no.1
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• pp.55-62
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• 2017

The background of this study is the trend in which the genres of mobile games are becoming diverse based on advanced smart devices. However, since cut-scenes are still being regarded as somewhat unnecessary elements in digital games, this study seeks to suggest the functions and range of uses of cut-scenes. The scope of this study is to make classifications for the range of uses of cut-scenes in commercialized mobile games according to the genre, and investigate the characteristics of visual expression to create a frame for communicative styles of mobile games. The result of study was that different styles were identified regarding the use of cut-scenes in mobile games just as in existing digital games, however diverse attempts are not yet being made as in early digital games. Future study needs to be carried out on communication styles that match the characteristics of mobile game platforms, in which a module that can be applied in the introduction of a new platform is required.