• Cross-Cultural Studies
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• v.22
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• pp.99-123
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• 2011

This paper extracted formal characteristics appearing repetitively in Kim Ji Heon's scenario works making a study of them and examined them from the perspective of the aspects of the confrontation between the author' external environments and the world of his creation. This viewpoint comprehensively implies the two aspects of the acceptance of public needs and the creativity his scenarios have in universal characteristics of the film and scenario community where he made his debut as a scenario writer and played activities most actively. In addition, we investigated how literary features are expressed concretely in the world of his works who has been evaluated as a writer with excellent 'literary value.' His scenario world whose base is humanity and existential questions also performs a function as the reading scenario by realizing one literary perfection in itself and poetic description rather than referential function as a film script, which indicates the aspects of values his scenarios have in the existing creation practice focused on story telling, and especially, in the case of "Manchoo-Late fall" it was found that it expanded the areas of literary value through the beauty of modern form. Through this analysis it is seen that the need was exposed to reconsider problematic recognitions that he was not able to be positioned properly as a writer despite the excellent literary values of Kim Ji Heon's scenarios. This study has a meaning as a start in our research climate where the research on Korean scenario writers is not made in an earnest way but it is necessary to keep making more thorough studies including other scenarios which are not organized into the collection of works, and it is also necessary to make a comparative study with cinematized film texts in our view.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.109-121
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• 2015

Dir. Go, Yeongnam has made 110 film works during 40 years from the last of 1960's to the first of 2000's. He has the record for the most making films in Korean film world. His first film is melodrama (1964). But he makes literary picture genre film after (1977). He has made various genre film such as 47 melo films, 6 literary pictures, 3 comedy films, 22 action films, 21 anti-communism films, 1 war films, 8 detective films, 2 costume plays. This research discussed on Go, Yeongnam's activity in Korean film world and introduced his all films from the last of 1960's to the first of 2000's. In conclusion I arranged the essay of Go, Yeongnam's film world through analyzing the story of his all films.

• Journal of English Language & Literature
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• v.60 no.2
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• pp.249-267
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• 2014

An outsider's perspective is often illuminating and enlightening, as he or she perceives the world differently from us, and sees things that insiders tend to miss. While an outsider's views are fresh and penetrating, an insider's vision is often banal and myopic. Although outsiders' perspectives may not be quite right at times, they always shed light and provide insight, allowing us to reevaluate the conventional interpretations of our literature and folktales. In order to prevent our own understanding and knowledge from growing stale and narrow-minded, we should endeavor to consider outsiders' opinions and view all things from multiple angles. When reading literary or cultural texts, therefore, we need to read through others' eyes because it provides alternative perspectives. And we should learn to co-exist with others and see things from others' eyes. In his celebrated novel, My Name Is Red, Orhan Pamuk, the Turkish Nobel Laureate, explores the themes of clashes between the East and the West, the young and the old, and conservatism and radicalism. The confrontation between the stubborn defenders of tradition and the self-righteous innovators ultimately results in bigotry, hatred and murder. As Pamuk aptly perceives in his novel, the inevitable outcome of such uncompromising conflict is degradation of humanity and annihilation of human civilization. That is precisely why we need to embrace others who are different from us and learn to look through others' eyes. Sometimes, we fear other voices and different perspectives. As the movie "The Others" suggests, however, there is no reason for us to be afraid of others.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.83-89
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• 2019

Zhang yimou's film "the shadow" adopts a lot of modern literary symbolic content in the story structure. The novel has been greatly modified, abandoning the setting of the original work and making up the historical background of the story, thus completing the discourse practice of aerial literature rather than historical literature. The film expresses the historical story poetically and even writes the personal mind. In this way, the audience's sense of substitution is increased, and a large number of traditional Chinese cultural symbols are adopted visually. In terms of clothing, the most traditional is sought, which advocates loyalty to history, and adds cultural connotation and depth. The audience can feel the bold and unfettered artistic creation spirit of the main creator, as well as the novel and unique visual expression style, which makes his works have both traditional visual perception and modern story content. The combination of traditional vision and modern drama forms a new visual and cultural experience.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.59-65
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• 2019

This study examines how cinematic texts are used in movies through Lee Jun-ik's 2015 film, and what narrative and visual effects are obtained through them. This film portrays poet Yun Dong-ju as a central figure and chooses to reconstruct his life. The movie, , used Yun's poetry as a device to maximize the lyricism of the film and to suggest a change in the fate of the character and the inside. In other words, uses Yun Dong-ju's poetry to aesthetically express the inner change of the characters in the film and the sensitivity of the film. Through this, I visualize Yun Dong-ju as poet Yun Dong-ju, a poet who was stuffed in literary books, as a normal literary youth. It is also a reminder of the weight of the reality that the present youth is experiencing and the problem of an individual living in history. In this respect, the movie is a major text that depicts the poetry and poetry of the time, and the age of poet through the media. 'Poetry' as the text of the text delivered with the image maximized the lyricism of the image and led to high aesthetic achievement. Through poetry and poetry, it can be regarded as the main text approaching the problems of history, individual, literature and reality.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.72-83
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• 2014

Film is a visual art. A process of film totally depends on our sense of sight. It indicates that a way of delivering narrative in the film is "showing", not "telling". There has already been established theories about "who sees" and "who tells" in narratology. It explains who the narrator is and how the narrator delivers in literary works which is represented in terms of "Point-of View". Therefore the study contents construct internal formal elements of the narrator and point of view into 2 individual researches, and the result can be summed up as below. From a narratological perspective, the narrator has roles and deeds as a narrative mediator who mediates the story and leads the story as presenting the origin with images and voices in the text extra and intra world through the process of producing the narrative inferred. To eliminate ambiguousness the term 'point-of view', this article applies 'focalization' theory to analyze narrative structure of film. The result of analysis shows that there are three focalizers in film; director, protagonist-character and camera. And aspects of film can be varied by distance of each focalizer. These distances between focalizers limit amount of visual information.

• 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.

• Cartoon and Animation Studies
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• s.14
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• pp.83-99
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• 2008

In general, the cut or dissolve or etc., collective changeover represents the change of scene in the film. Animation film makes scene's various parts to allow intended sensibility and narrative factors by special manufacturing skill generating frame image one by one and transfer it to the different symbolic dimensional expression. Nowadays sequential scene composition is not any more the unique special treatment for 2D animation according to image handling skill like morphing, metamorphosis, etc. becomes diverse and elaborate. But 2D manual animation makes spectator to be absorbed into different visual dimensions continuously and strongly beyond character and background, namely object and space. that is 2D manual animation's strong attractiveness. Finally these characteristics enable literary function which makes it possible to do delicate metaphorical through full scene composition basis and to communicate a implicative meaning system The analysis about scene broke boundary between symbolic perspective world and plane formative world and it became more diverse and complicated. Hereupon the analyzing the composition basis of formative element in the animation film scene and it's application effect make it helpful to analysis and application in the modern image scene having new absorbing methods

• 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.

• (The) Research of the performance art and culture
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• no.35
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• pp.339-371
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• 2017

This paper is a study of the film A Deaf, Sam-ryong by Na Un-kyoo released in 1929 at Choseon theater. This study compared the partial scenes of the currently remaining A Deaf, Sam-ryong with related scenarios and original works, after the restructuring of the structure of A Deaf, Sam-ryong and was written for the purpose of reviewing it. The film A Deaf, Sam-ryong is based on Na Dohyang's novel A Deaf, Sam-ryong. However, in the process of adaptation, it was a work that strongly reflected the intention of Na Un-kyoo as a scenario writer. The study of these intentions has to reorganize the remaining scenes at present and rely on research methods to compare them with related scenarios or original works. Even if a situation that makes it difficult to draw clear conclusions is drawn in this research process, we can not but dismiss the method of this research itself if we can not stop the purpose of restoring the loss of Korean cinema. As a result, this study is devised to carry out this study, which had been discontinued due to the lack of work and related data so far.