• 한국의류학회지
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• 제31권8호
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• pp.1222-1230
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• 2007

This study measured the PPL communication effect whether the respondents had purchased the PPL products in the movie or not. The experiment of this study was held to females in their twenties(mostly university or graduate school students), and they answered the questionaries after being exposed to the 15-minute-edited movie. The results were as follows. In cognitive dimension, there were no differences of the recognition and the recall between two groups. In emotional and behavioral dimensions, the group with the purchase experiences of the PPL brands in the movie showed the more positive brand attitude and the higher purchase intention. The implications based on this results are as follows. First, to strengthen the brand image, the brand identity has to be established systematically. Second, the fashion marketers should constantly implement CRM(Customers Relationship Management) to the customers who purchased the brand products to make them loyal customers.

• 한국실내디자인학회논문집
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• 제24권5호
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• pp.128-135
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• 2015

The purpose of this study is to propose a planning method for increasing visitors' usage attraction by understanding user circulation in the large scale commercial complex. Focusing on the impact of anchor tenant on the pedestrian traffic arousing visitors' usage attraction flow, this study analyzed pedestrian circulation and traffic volume of Lotte World Mall, a large scale commercial complex. In this study, the change of pedestrian traffic in the commercial complex was investigated and the circulation flow of anchor tenant visitors such as movie theater in the commercial complex was simulated by computer. By analyzing both characteristics of pedestrian circulation and traffic volume in large scale commercial complex and movie theater users' pedestrian traffic with network-based computer simulation, positive relationship between pedestrian traffic to movie theater and pedestrian traffic dispersion of the whole commercial complex users was emerged. In addition, It is necessary to plan of distributing pedestrian traffic of vertical moving line in central space appropriately for using attraction function of anchor tenant.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• 제33권2호
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• pp.48-54
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• 2022

Objectives: Among adolescent development tasks, being independent of parents is an essential process for emotional and physical separation. There are many conflicts of separation and individuation between parents and adolescents; however, most clinicians explore the process of separation and individuation only from adolescents' perspective. Whether simultaneously or sequentially, separation-individuation occurs between adolescents and parents, respectively. The authors have already introduced the theory of synchronized individuation in a clinical case to explain the concept of this intersubjective phenomena. This study also attempts to prove the synchronized individuation theory through the interaction of characters in a movie and a fairy tale. Methods: The authors present the basis for the theory of synchronized individuation of adolescence through the growing process of Mason Junior, the main character of the movie "Boyhood," and from the process of the separation of a hen, Sprout, and an orphaned duckling in "The hen who dreamed she could fly." Results: Synchronized individuation was developed and observed from Mason, the son's perspective in "Boyhood," and Sprout, the mother's subjective perspective in the story of the hen. Conclusion: Increasing conflict and mutual impact in the relationship between adolescents and parents, ambivalent feelings for separation, selective identification of each other, mutual respect through mutual recognition, and role changes in relationship position were confirmed. Sons and mothers were individualized with synchronization.

• 한국언론정보학보
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• 제51권
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• pp.47-64
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• 2010

한국의 극장용 영화 시장은 국내 제작 영화와 해외 수입 영화 간 차별화된 경쟁이 발생되는 시장이다. 본 연구는 국내 극장용 영화 시장에서 국내 제작 영화와 해외 수입 영화 간의 장르 차별화가 어떻게 발생하고 있는지를 3가지 차원(관객 선호도, 제작 및 수입, 흥행 실적)에서 종합적으로 검증하였다. 분석 결과 첫째, 한국 영화 선호 관객들은 '문화적 스토리 중심 장르'에 대한 선호도가, 외국 영화 선호 관객들은 '고제작비 투입 중심 장르'에 대한 선호도가 높은 것으로 나타났다. 둘째, 외국 영화는 '고제작비 투입 중심 장르'인 액션/전쟁 장르가 많이 수입되기는 하였지만, 동시에 저비용 장르인 코미디와 드라마/멜로 장르 또한 다수 수입되고 있었다. 그에 비해 한국 영화는 코미디와 드라마/멜로 장르에 편중되어 제작되고 있다. 셋째, 한국 영화의 흥행은 주로 코미디와 드라마/멜로 장르가 흥행하였고, 외국 영화는 액션과 SF/판타지를 중심으로 흥행하였다. 이러한 분석결과는 한국 영화의 제작과 흥행이 문화적 투입 요소가 높은 장르를 중심으로 차별화된 분포를 보이고 있음을 제시한다. 이러한 분석 결과는 한국 영화 시장의 다양성 확보를 위한 정책적 지원 논의와 산업적 측면에서 영화 기획 전략에 있어 함의를 제공할 것이다.

• 패션비즈니스
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• 제3권2호
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• 만화애니메이션 연구
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• 통권38호
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• pp.133-144
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• 2015

3D 애니메이션에서의 라이팅 작업은 많은 노동력과 시간이 걸리는 일이다. 예를 들어서 2014년에 글로벌하게 배급된 극장용 애니메이션 Postman Pat The Movie에서는 60여명의 라이팅 아티스트가 필요했으며, 이 아티스트들은 샷의 피드백에 빠르게 대응해야 하지만, 복잡한 샷들은 많은 렌더시간을 필요로 해서 테스트 렌더링을 하며 작업 대응을 하기 힘든 문제가 있었다. 2005년 이후 이러한 상황에 대처하고자 리라이팅 기법을 사용하는 경우가 있었으나, 하지만, 기존의 리라이팅 방식으로는 그림자를 얻어낼 수가 없기 때문에 사실적이거나 자연스러운 결과물을 얻어낼수가 없어서 국내 애니메이션 제작에서 거의 사용되지 못하였다. 본 논문에서는 Rasterization된 앰비언트 어클루전을 각 라이트 별로 리라이팅 계산에 접목시켜 빠른 계산을 유지하면서도 사실적인 퀄러티를 얻어낼 수 있는 리라이팅 시스템을 구현하였다. 이 리라이팅 시스템은 2014년 글로벌하게 개봉된 헐리우드 애니메이션인 Postman Pat : The Movie에 채택되어 성공적인 제작을 해내는데 큰 기여를 하였다. 이후 애니메이션 제작에 이 방법이 더 많이 활용되어 다른 제작사에서도 제작비의 절감과 함께 좀 더 완성도 있는 결과물을 제작할 수 있는 계기가 되길 바란다.

• 방송공학회논문지
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• 제20권6호
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• pp.950-962
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• 2015

본 논문은 디지털케이블TV에서 2013년 3분기동안 편성한 169편의 유료영화 VOD를 대상으로, 영화의 선행창구성과인 누적관객수, 스크린 수, 그리고 장르와 홀드백 기간이 영화 VOD 구매에 미치는 영향을 분석하였다. 분석 결과, 편당 VOD 평균 구매건수는 2,540건으로 나타났고, 회귀분석 결과 선행창구성과인 스크린 수와 홀드백 기간이 영화 VOD 구매에 통계적으로 유의미한 영향을 미치는 것으로 분석되었고, 누적관객 수는 유의미한 영향을 주지 못했다. 장르별로 보면 SF/판타지 8,401건>드라마 4,011건>코미디 2,011건>액션 1,798건>애니메이션 1,138건>애정/멜로 1,119건>공포/스릴러 770건>에로 636건의 순으로 나타났다.

• 만화애니메이션 연구
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• 통권32호
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• pp.221-244
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• 2013

본 논문은 "재현"의 문제를 인식론적 측면에서 고찰하고자 한다. '실제 사건'에 대한 영화적 재현이 관념적으로 어떻게 받아들여질 수 있는지 인식론적 고찰을 통해 살펴보고자 한다. 영화이미지가 대상을 반영함에 있어 비가시적인 요소들까지 형상화한다는 특성을 감안할 때, 실제 사건에 대한 재현 문제는 늘 논란을 야기할 수밖에 없다. 주체적인 건 비주체적인 건 개인의 경험과 감각적 인식이 유사할 수 있으나 일치할 수 없으므로 '영화가 재현하는 진실'은 '진실' 그 자체로 성립하기 어려운 난점을 내포하고 있다. 대상은 현존하는 그 자체 그대로 반영되는 것이 아니라 카메라의 시선을 통해 축소되거나 확장될 수 있기 때문에 실제현실과 작가의 현실인식, 수용자인식 간의 차이가 발생한다. 그것은 수용자가 얼마나 작품의 진실성을 분리해서 볼 수 있는가 와는 별도로 수용자의 실제적인 관심이나 욕망 혹은 물리적 프레임에 밀착해 산출되는 매우 불안정한 간극이다. 이러한 간극은 실제 사건에 대한 재현의 한계를 부각시킨다. 본 연구는 이와 같은 한계를 선명히 하는 데 그 목표가 있다.

• 패션비즈니스
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• 제7권5호
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• pp.1-12
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• 2003

In this study I surveyed the dress and the color symbolism of Scarlett and Melanie in the movie "Gone with the Wind" based on the novel by Margaret Mitchell. In investigating the dress and the color symbolism, I analyzed Scarlett and Melanie's image as described in the novel, and examined how the symbolic imagery is represented through coloration based on the DVD reproduction of the movie "Gone with the Wind" originally produced in 1939. In her novel, the author Margaret Mitchell introduced two women, Scarlett and Melanie, whose respective image sharply contrasts with each other. To express Scarlett's young, vigorous, lusty, and vivacious image, she uses green to depict the character, clothing, and background on the whole. Black, which mainly expresses the death image of the mourning dress. Red symbolizes her fast and lavish image. On the other hand, gray is used to describe Melanie's sedate, shyness, and modest image while alluding to her gloomy atmosphere. Brown symbolizes her sedate and plain image in the novel. In the movie, green symbolizes Scarlett's overwhelming image of youth and liveliness as also depicted in the novel. Melanie, however, seems to appear consistently in gray-blue or purple dresses to reflect her image of modesty, sedation and dignity. Melanie's blue image contrasts with Scarlett's blue image in that the latter is used to hint at the omen to a tragedy to come. Red is used to express Scarlett's passionate and fast image. Black symbolizes death or mourning in the movie.

• 비교문화연구
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• 제33권
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• pp.53-75
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• 2013

It is well-known that Chinese saw themselves as the centre of the world until the early 20th century. Since the Opium War 1840, however, belong to the 'general world' the past century. The Opium War made China break away from the Sinocentric spirit. This writing(essay) examines movies from China and the World concern the historical event 'the Opium War.' It also discusses desires that are inherent in narration of each movie and how accord with the real world. The movie The Opium War(1997) directed by XieJin is a work that intended: to wash off the memory of history of disgrace and; to successfully put a disparate piece, Hong Kong, of a puzzle named China together. The Japanese movie Wànshìliúfāng(1943)and The Opium War(1943) were also made for the victory of the Pacific War. They were part of project for uniting the domestic Japan and the colonial outlands - Manchuria and Joseon - that reenacted humiliating history of China, which had been the suzerain of the East Asia The Korean movie The Opium War(1964) was not recalled due to the demand for a lesson from China's painful history, but was recreated by imitating Hong Kong, into where capitalism was transplanted through the Opium War before Korea. History is eventually recalled to the present and the histories, that each different present invokes, are recreated in respective fashion. From their plan to wash off the history of disgrace and successfully return Hong Kong to its native country, China, Japan, and Korea portrayed China, once their cultural suzerain, as impotent East Asia. From their proposition that they should resist the present enemy, the West, together, they imitated the west of the East, which lead the way to achieve modernity. Finally, from their ambition to deviate from their status as developing country, they recalled and reorganized the history, the Opium War.