• The Journal of the Korea Contents Association
• /
• v.17 no.6
• /
• pp.169-179
• /
• 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
• /
• v.10 no.12
• /
• pp.164-172
• /
• 2010

The purpose of this paper is to clarify the naming creation process of cultural contents based on the violation of selectional restrictions. This is to insist that the violation of selectional restrictions should be significantly considered as a mode of story planning and title naming in the cultural contents such as 'King and the Clown' and 'Ballerina Who Loves B-Boy'. This approach of selectional restrictions is based on the insistence of Chomsky's 'Aspects of the Theory of Syntax' in 1965. His idea had proposed that violation of linguistic rules affects the acceptability in the selectional properties of words and sentences. This focuses on the naming creation of cultural contents by widening his notion between selectional restrictions and the violation of selectional restrictions.

• Cartoon and Animation Studies
• /
• s.47
• /
• pp.241-271
• /
• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.