• Title/Summary/Keyword: Mise-en-scene

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About the Use of Plan-Sequence in Digital Films (디지털영화의 플랑세캉스 사용에 관하여)

  • LEE, Jihyun
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    • v.3
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    • pp.1-28
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    • 2017
  • As the field of film aesthetics expands, the concept of classical the mise-en-scene expands too its scope. This paper examines the concept of mise-en-scene through spatial connections. The primary goals of this study are understanding the relation between the frame and the shot, the continuity between the scene and the sequence, and the aesthetic dimension to the plan-sequence. In modern cinema theory, the elements of mise-en-scene are more emphasized in terms of efficiency, but this study is concerned that the classical aesthetic system is still important. To this end, we examine the concept of plan-sequence, which was called the best technique of past visual realism aesthetics, is utilized in digital cinema. Finding significance for the modern use of plan-sequences is a secondary goal of this paper and we expect it to be a stepping stone to search for the aesthetics of digital cinema. The plan-sequence is one of the important factors that can be evaluated in the preparation and application of the event for the movie director. In the real world where the film itself is used commercially, digital film will have a conceptual tool that can utilize allegorics of 'geopolitical unconsciousness' through plan-sequences.

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Use of Long Take in The Film <The Graduate> : Focused on Mise-en-Scène (영화 <졸업>에 나타난 롱테이크의 이용 : 미장센을 중심으로)

  • Yoon, Soo-In
    • The Journal of the Korea Contents Association
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    • v.12 no.4
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    • pp.143-155
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    • 2012
  • The research was started out of curiosity for what made 's fast and trilling pace possible although it is an old movie. The center of what made it possible was its use of the Long Take - Long Take was used in all of the scenes and in some cases only long take was used. What is interesting is the film maker's use of various cinematic techniques to prevent the scene from being too slow and keep the audience immersed in the characters. In one shot, acting in addition to Mise-en-Sc$\grave{e}$ne were used to provide psychological immersion of character and scene. The use of Long Take, with the exception of some intentional scenes, was difficult to notice without conscience observation. All the components that make up Long Take. camera walking and lighting as well as actor's dialog and performance and scene movement all beautifully came together. The Long Take is generally replaced by many different sort shots. However, Mike Nichols clearly demonstrates the benefit of Long Take. In the movie, the general aesthetics from the use of Long Take is slightly altered for a different purpose. The specific methods and effects used in the application of Long Take is the subject of this study.

A Study on the Comic Strip Style in the movie (영화 <중국 여인>에 나타난 만화적 표현 연출에 관한 연구)

  • Chang, Se-Young;Chung, Jean-Hun
    • Journal of Digital Convergence
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    • v.12 no.9
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    • pp.343-351
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    • 2014
  • This study poses questions on the role of a movie sequences partially deployed in the comic strips style in the movie. Though both the movie and the comic strips's image is expressed in the flat space, it is different to the reciever's manner in the interpretation of the media's narrative. Comic strip has a media's characteristic of the aggressive interpretation. It can be create the objective and critic point of view for an audience as the visual style in the ideology movie. Comic strip Style has a flat frame, a form of comic strip's mise-en-scene, montage and camera working. This paper studies expression of 'La Chinoise' using 'Comic strip style' for the objective point of view.

KBS 'Summter VR' directing analysis - Focusing on the long take technique (KBS '숨터 VR' 연출 분석 - 롱 테이크 기법을 중심으로)

  • Pyo, Man-seok;Choi, Yoon-hee;Lee, Seung-hyun;Kwon, Soon-chul
    • The Journal of the Convergence on Culture Technology
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    • v.4 no.3
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    • pp.149-158
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    • 2018
  • VR image content producers are now terrestrial broadcasters, movie studios, game companies, and VR content producers (productions). As the VR market begins to form, investment in VR image content production is also expanding. The terrestrial KBS 'Summter VR' has been produced steadily from 2016 to 2017. 2D and VR images were simultaneously broadcast. If we compare and analyze these two image data, we could get a meaningful presentation. In this paper, 'Summter VR' is analyzed by cutting the image by time. "Summter VR" was using a long take for an average of 30 seconds or more, and at the same time, it was choosing a beautiful place so as not to fall into the boredom of long take directing. Most of the images of 'SummterVR' were long take techniques using the mise en scene VR technique.

The Aesthetic Characteristics of Korean Superhero Film : Focus on Plot and Character of (한국형 슈퍼히어로 영화의 영상미학적 특성 연구 -영화 <전우치>의 플롯구조와 인물구성을 중심으로-)

  • Hyun, Seung-Hoon
    • The Journal of the Korea Contents Association
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    • v.13 no.10
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    • pp.132-139
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    • 2013
  • This research considered the aesthetic factors of the Korean style superhero film through the analysis of text of . Basically, the various elements including the structure of the story, characters, mise en scene, and etc. are included in the aesthetic factors. Therefore, in this research, the organization of other aesthetic elements and characteristics including the characters and mise en scene, and etc. were analyze based upon the first analysis about the structure of . And the theoretical backgrounds for the research were 'The Poetics' of Aristotle. The reason why this movie selects the movie as the research text specially was that had the plot and genre style compared with the existing Hollywood superhero film. Consequently, the research could find the communities and differences for the aesthetic features between Hollywood superhero film and .

Cinematic Methods of Expression in The Film (영화 <어톤먼트>에 나타난 영상표현방법)

  • Yoon, Soo-In
    • The Journal of the Korea Contents Association
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    • v.16 no.9
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    • pp.569-579
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    • 2016
  • , 2007 firm by Joe Wright, deals with tragic love of Cecilia and Robbie. While the 2001 novel of the same name focuses on Briony narrative the movie is seen through romantic relationship of two lovers. However, Briony's narrative in the movie helps to accent the two's love story. The director's emphasis on the love story is unfortunately from Briony tragic story. The continuous build up of misunderstanding and irreconcilable regrets begins to materialize and explodes in the middle of the film. The director manages to use just one day and uses the same location to illustrate the background of the characters as well as build up of the plot's misunderstanding. The study will focus on the beginning of the film that enabled the beautiful love story through effect and symbolic visual expression and techniques- especially the use of mise-en-scene, camera movement, framing, and lighting and how it emphasis and use of specific color and sound.

The Creative Usage of Colors in Films (영화에 있어서 색상의 창의적인 사용)

  • Park, Jaehong
    • The Journal of the Convergence on Culture Technology
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    • v.8 no.1
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    • pp.9-17
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    • 2022
  • We will analyze how color is used creatively in essential work, Red Deser, directed by Michelangelo Antoioni, one of the most unique film director in film history. in Red Desert, Antonioni especially tried to focus on the use of color to develop the narrative. Therefore, through the analysis of the Red Desert, this paper will endeavor to support the perspective that the role of color is not only a mere backdrop but has the primary funtion of storytelling in this film.

Various Possibilities of Dispositif Film (디스포지티프 영화의 다양한 가능성)

  • KIM, Chaehee
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    • v.3
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    • pp.55-86
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    • 2017
  • This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

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The post-epic characteristics in Jan Lauwers' theatre -, and - (얀 라우어스(Jan Lauwers) 공연의 탈서사적 특징들 -<이사벨라의 방(Isabella's Room)>, <랍스터 가게(The Lobster Shop)>, <사슴의 집(Deer House)>을 중심으로-)

  • Nam, Jisoo
    • Journal of Korean Theatre Studies Association
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    • no.48
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    • pp.447-484
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    • 2012
  • This study aims to analyze the characteristics of post-epic theatre in the Belgian theatre director Jan Lauwers' trilogy titled in "Happy Face/Sad Face": (2004), (2006) and (2008). I regard that it played a very important junction for him to create his own theatrical style compared to earlier years. From this period, Lauwers has tried to create his original plays in order to concentrate the story of our era and has showed to combine a variety of media such as dance, installation, video, singing etc. In this context, I would like to study his own theatricality from the three perspectives of dramaturgy, directing and acting largely based on Hans-Thies Lehmann's theory of post-epic theatre, who pointed out the significance of Lauwer's theatrical leading role very early. First, from the dramaturgical point of view, we need to pay attention to the theme of translunary death; where the living and the dead coexist on the stage. In fact, death is the theme that Lauwers has been struggling to research for quite long time. In his trilogy, the dead never exits the stage. The dead, who is not a representative tragic character, even meddles the things among or with the living and provide comments to people. As a consequence, it happens to reduce a dramaturgical strong tension, leads depreciation of suspense and produces humanism in a way. This approach helps to create his unique comical theatrical atmosphere even though he deals with the contemporary tragic issues such as war, horror and death. Second, from the directing point of view, it is worth to take a look at the polyphonic strategy in terms to applying various media. Among all the things, the arts of dancing and singing in chorus are actively applied in Lauwer's trilogy. The dance is used in individual and microscopic way, on the other hand, singing shows collective and is a macroscopic quality. The dance is the representing media to show Lauwer's simultaneous microscopic mise-en-scene. While main plot takes place around the center-stage, actors perform a dance around the off-centered stage. Instead of exiting from the stage during the performance, the actors would continue dance -sometimes more like movements- around the off-centered stage. This not only describes the narrative, but also shows how each character is engaged to the main plot or incident, and how they look into it as a character. Its simultaneous microscopic mise-en-scene intends to function such as: showing a variety moments of lives, amplifying some moments or incidents, revealing character's emotion, creating illusionary theatrical atmosphere and so on. Meanwhile, singing simple lyrics and tunes are an example of the media to stimulate the audiences' catharsis. As the simple melody lingers in the audiences' mind, it ends up delivering a theatrical message or theme after the performance. This message would be transferred from the singing in chorus functions as a sort of leitmotive in order to make an impression to the audience. This not only richens their emotion but also creates an illusionary effect. Third, from the acting perspective, I'd like to point out the "detachment" aesthetic which Lehmann has pointed out. The actors never go deep into the drama by consistently doing recognize a theatrical illusion. The audience happens to pay attention to their presence through the actor's deliberate gesture, business, movement, rhythm, language, dance etc. The actors are against forming closed action by speaking in various languages or by revealing deliberately stage directions or acts, and by creating expressive mise-en-scene with multiple media. As a consequent, the stage can be transformed to not a metaphoric but a metonymic place. These actions are the ultimate intention for a direct effect to the audience. So to speak, Lauwers uses the anti-illusionary theatrical method: the scenes of fantastic death, interruption of singing and dance, speaking many kinds of languages, acting in detachment-status and so on. These strategies function to make cracks in spectators' desire who has a desire to construct a linear narrative. I'd like to say that it is the numerous potentiality to let the reality penetrate though and collide the reality with a fiction. By doing so, it induces for spectators to see the reality in the fiction. As Lehmann says, "when theatre presents itself as a sketch and not as a finished painting, the spectators are given the chance to feel their own presence, to reflect on it, and to contribute to the unfinished character themselves". In this sense the spectators can perform an objective criticism on our society and world in Lauwer's theatre because there are a number of gaps and cracks in his theatrical illusion where reality can penetrate. This is also the point that we can find out the artists' responsibility in this era of our being.

Weaving the realities with video in multi-media theatre centering on Schaubuhne's Hamlet and Lenea de Sombra's Amarillo (멀티미디어 공연에서 비디오를 활용한 리얼리티 구축하기 - 샤우뷔네의 <햄릿>과 리니아 드 솜브라의 <아마릴로>를 중심으로 -)

  • Choi, Young-Joo
    • Journal of Korean Theatre Studies Association
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    • no.53
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    • pp.167-202
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    • 2014
  • When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.