• Cartoon and Animation Studies
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• s.13
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• pp.153-162
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• 2008

This paper show that we analyze the mise en scene of animation based on the theory of mise en scene in film. The mise en scene of animation has a large range of utilization in contrast to film. This affects the development of film synthesized with an actuality film. The theory of mise en scene of early realistic film director is extended by the animation techniques. And the theory of mise en scene in digital film is raised newly. The mise en scene in animation has the property that ail elements Is represented in one frame. And then this has a success in different aesthetics. The problems of in-country animation - the absence of production in the present condition - is to be achieved by the production using mise en scene.

• Korean Institute of Interior Design Journal
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• v.25 no.3
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• pp.40-50
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• 2016

The purpose of this study is to investigate the mise-en-$sc{\acute{e}}ne$ characteristics to direct an emotional atmosphere. It also analyzed whether these characteristics are reflected in how the work of Peter Zumthor. First, a theoretical consideration base on the distinction between montage and mise-en-$sc{\acute{e}}ne$, the research on space directing techniques in film. In particular, research on the mise-en-$sc{\acute{e}}ne$ around the technique of deep focus, long-take, charade. It also examines the mise-en-$sc{\acute{e}}ne$ tendencies that appear in the painting art, philosophy and psychology to deepen understanding. It should understand the mechanism by going to complete the meaning. Based on this, in terms of mise-en-$sc{\acute{e}}ne$ to analyze the space directing of Peter Zumthor. And the features of mise-en-$sc{\acute{e}}ne$ has its significance in having a look at whether there is any correlation in the 'Atmospheres' directing of Zumthor. As a result, the mise-en-$sc{\acute{e}}ne$ is active, multi-layered, ambiguous, uncertain, becoming and enables an open interpretation in terms of audience.

• Korean Institute of Interior Design Journal
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• v.17 no.5
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• pp.51-60
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• 2008

This thesis sets out to study the immanent mechanism of architectural space which had been classified as external space in general. The mise en $sc{\acute{e}}ne$ could consider one among various immanent tools to deal with the singularity of interior architecture. An imaginary interrelationship between cinema and architecture offers a possibility which a mise en $sc{\acute{e}}ne$ could be used with a space making equipment. The mise en $sc{\acute{e}}ne$ is a conscious equipment to lead a meta-function of simple visual-perception. The mise en $sc{\acute{e}}ne$-space has been supposed to visual-perception cases and conscious cases in interior architecture. In particular, as a result of analysis, it becomes clear that the mise en $sc{\acute{e}}ne$-space is a kind of something signifer to expose designers's an abyss of conscious and unconscious. In my opinion, this is the very way that the contemporary interior architecture is exposed to its singularity by a mechanism of mise en $sc{\acute{e}}ne$-space. In conclusion, the psychoanalysis-frame of mise en $sc{\acute{e}}ne$-space has brought out any possibility of an interpretation about architectural immanent themes like a subject, meaning creation, and construction logic, and it has also been useful to reveal the architectural singularity.

• Cartoon and Animation Studies
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• s.11
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• pp.41-53
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• 2007

Due to the development of digital cinema, Animations are no longer a peripheral part of movies and become major role in making films, including live action movies. This kind of change makes the distinctive line between animations and live action movies vague. In order to prevent such side-effect, this study is aimed at building solid territory again between the two by reviewing the difference and, based on it, looking for effective cinematic techniques to produce synthesized and digitalized images. First of all, consideration on mise-en-scene is crucially required to tell this line. The mise-en-scene is a director's own unique style in making films. In other words, it is a symbol expressed by him/her. With the mise-en-scene, competitive directors explore huge possibility of image expression and know how to use it audiences can understand. Therefore, I look into a set of studies on the mise-en-scene and methodological problems because it is thought that the mise-en-scene is an important element to distinguish way of expression in animations, live action movies and digital cinema. In addition, owing to these fundamental differences, both movies have their own limitation on representation even though they imitate it each other. Synthesized images produced by both representation may not overcome that limitation and even worse bring up the lack of expression and the increase on unfamiliarity, which reduce audiences' interest. But ironically speaking, digital cinema accept each representation. And it serves as hindrance to narrative's delivery not to balance each of it. Therefore, digital cinema that integrate animations and live action movies should keep an eye on the overuse of images and pursue balanced mise-en-scene.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• Cartoon and Animation Studies
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• s.44
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• pp.1-31
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• 2016

In this thesis, the movie with mise-en-scene established was compared with the peculiarity of the play that is the etymological source of the term to identify the peculiarity of mise-en-scene which was substituted into animation to find the peculiarity of mise-en-scene in animation. To emphasize the direct connection between the frame's visual peculiarity and the director's opinions, the mise-en-scene of director centered animation created under a restricted environment was reviewed. Mise-en-scene which started from movie critics theory does not simply mean the arrangement of images in a frame. Mise-en-scene emphasizes the exposure of the work's motive by the visual components. The animation's assuming the middle point of environmental share possessed by play and movie when schematizing the genre peculiarity of animation, play and movie was a noteworthy result. It can be said that the cause is that the animation's peculiarity yield different results depending on the making methods; we verified that this is a key factor in the analysis of animation's mise-en-scene. I emphasized that the peculiarity of animation mise-en-scene is in its making method and material and suggested identifying the work's making methods and analyzing the work's aesthetic results derived in this way. The russian animation which was perceived as peripheral arts was relatively free from the burden of censorship while receiving support from the Soviet as a media for propaganda. The russian animation's mise-en-scene which found the material for its works in the country's folklore was metaphorical, focused on new expression forms and achieved experimental elements. Russian animation pursues a unique aesthetic world through space expression based on the forms of opera or ballet and heavy motions formed static inbetweens.

• Korea Science and Art Forum
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• v.20
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• pp.315-326
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• 2015

This study has started from a curiosity about how the concept and characteristics of mise en abyme, which is one of meta-discourse in the contemporary aesthetics and has affected every aspect of modern philosophy, art, and culture, are expressed in modern architecture. 'Mise en abyme' is a technique mainly used by writers of the nouveau roman after it was introduced first in the work of novelist Andre Gide; this technique of artistic expression has been extended across the whole contemporary art and has become the meta-discourse which essentially makes its appearance in the art after postmodernism. 'Mise en abyme', meaning endless formation of image between two mirrors, got involved with discourse of the various philosophers of the time such as Deleuze and Derrida, and was also expressed in the language of architecture by modern architects who have been influenced by their philosophy. In this context, the technique of mise en abyme which is mostly used in art has a relation to methods of space expression of architects. This research studied the characteristics of mise en abyme which show in the expressional method of the modern architecture based on the relationship between the technique of mise en abyme and the modern method of architectural expression. Moreover, on the basis of this an analysis was carried out on architectural works of Jean Nouvel, who uses de-materialization and singularity as the architectural language. Through the research it was confirmed that the characteristics of expression of mise en abyme in architecture are embodied in material of the surface which forms buildings' exterior, or expressed by using reflection and graphical factors. Through analysis this study allows the chance to see that even though the means and field for expressing mise en abyme are different, the characteristics of the fundamental concept are shared among them, and to think about the meaning in the technique of mise en abyme as one yardstick to understand modern architecture in modern times with no specific mainstream.

• Journal of Fashion Business
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• v.24 no.3
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• pp.1-16
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• 2020

The purpose of this study is to find the aesthetic characteristics of costume design as mise-en-scène in movie 'The Danish Girl'. the methods of this study was carried out prior research, literature studies and qualitative research of visual content analysis by DVD. The spatial and temporal scope of the study is Copenhagen, Denmark from 1926 to 1931, and Paris, France. The styles of the times(1925 ~ 1931) and the spatial sensibilities of women's costumes in terms of form and color were examined thorough out the story. As the results, the costume are based on the 1920's Art Deco style like straight silhouette and some of them are oval soft silhouette. The colors are harmonized or in conflict based on Nordic colors such as blue-green, gray and yellow. Rather than expressing the internal conflict between the two main characters, the costume was focused on the role and character. And also exotic tastes like Japanese and Egyptian textiles patterns and decorations. Therefore, it was found that the movie costume played a role as one of the very important mise-en-scène.

• The Journal of the Korea Contents Association
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• v.6 no.12
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• pp.278-286
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• 2006

The purpose of this study was to investigate factors of film aesthetics, a core of creative power for works, and reference indicators to establish the successful model for works by analyzing Mise-en-scene through case works focused on domestic digital 3D short snimation that has developed consistently in recent years. As to the frame of analysis for Mise-en-scene, this study applied to the concept of triple articulation under discussion in U. Eco's film semiotics, but each factor is semes, figures, and cinemorphes. The case works were focused on by a film director Park Se Jong who was nominated for the Academy Award in 2005, and secured its objectivity.

• The Transactions of the Korean Institute of Electrical Engineers
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• v.36 no.9
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• pp.660-669
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• 1987

Routh approximation method is the most computationally attractive. But this method may cause time-response error because this method does not match the time-response directly. In this paper a new mixed method for obtaining stable reduced-order models for high-order continuous-time systems is proposed. It makes use of the advantages of the Routh approximation method and the Minimization of Integral Squared Error(MISE) criterion approach. In this mixed method the characteristic polynomial of the reduced-order model is first obtained from that of original system by using the Auxiliary Denominator Polynomial(ADP). The numerator polynomial is then determined so as to minimize the intergral squared-error of unit step responses. The advantages of the propsed method are that the reduced models are always stable if the original system are stable and the frequency domain and time domain characteristic of the original system will be preserved in the reduced models.