• Lingua Humanitatis
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• v.2 no.2
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• pp.143-161
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• 2002

This essay explores the theories of Italian poet and filmmaker Pier Paolo Pasolini on the language of cinema. In essays such as "The Cinema of Poetry" and "The Written Language of Reality" composed during the 1960s, Pasolini argues for the special status of film language as "pre-grammatical" and links it to visual signifying processes such as dreams and memories. He also views cinema as the inroads towards a general semiotics of reality since, for him, the basic unit of film language is not the shot but those objects of reality that constitute the mise-en-scene of the shot, hence cinema is posited as the written language of reality whose minimal units of articulation are the very objects of reality itself. Accused by semioticians such as Umberto Eco of semiotic ingenuousness in trying to reduce the facts of culture to nature, Pasolini responded by arguing that he was trying to do the opposite, that is to say, to culturalize nature by examining it as a language. Against the constructed naturalism of both commercial and neorealist films, Pasolini argued for the creation of a poetic cinema able to exploit its constitutional pre grammatical, oneiric and sacred relationship with the world. The essay concludes with an analysis of the film Medea in which Pasolini′s attempt to restore a sacred vision of reality merges with his concerns over the cultural genocide of traditional and emarginated peoples at the hands of neocapitalist homologation.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• Cartoon and Animation Studies
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• s.9
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• pp.143-160
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• 2005

This study was performed on purpose to consider the charade function of props in directing animation. The prop is gradually expanded its role and scope in modern animation. Its scope covers dramatic factors, creating and changing characters, the means of psychological description or emotional expression, mise-en-scene, montage, creating products etc. Like this, the prop has an important function emotionally or indispensably in human life. Thus, the prop should be a subject that can speak to audiences or viewers, not worthless and silent subject. Hence, the prop should be recognized as a charade having productional function. Nevertheless, the prop has been unnoticed up to now. The function of props should be valued hereafter. The prop itself is meaningless, but it always speaks to audiences on the screen.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.489-494
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• 2016

Stop-Motion Animation is the work that gives lives to the objects. In order to give lives to objects and to form story line to persuade the audience, it is important that the reason of choice of color, material, and texture has something to do with the narratives. For this study, among the Garri Bardin's animation, the ones with good representation of the objects have been chosen: Conflict (1983), Fioritures (1987), and Adagio (2000). With these animations, I would like to look for the meaning of existence of the objects, and to consider the importance of the relationship between the types of objects that are represented and the narratives.

• Journal of Korean Philosophical Society
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• v.142
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• pp.221-241
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• 2017

I try to elucidate the essence of cinematic art in terms of Nietzsche's physiological philosophy of art. According to Nietzsche, the mise-en-$sc{\grave{e}}nes$ in the film are expressions of willingness to the power of the author, the director. These are not re-imitations of the imitations with Platonic measure, sinker, number, but framing the elan vital Erde, die $urspr{\ddot{u}}ngliche$ Vorstellung with the director's body-camera. In this context, the film is essentially die Kunst des Lebens, in which the body and the earth are mediated by cameras. Therefore, it is not the eyes or the head, but the body that is necessary to appreciate film art. But the body at this time does not mean the heavy body of Hollywood standard audiences manipulated, controlled, or transformed by capital. We should stand in front of the film work with body shaking between trauma and Rausch, a dancing body, and a light and fresh body. Only by watching film with the body, can we achieve the small revolutions in everyday life. For example, if we watch $B{\acute{e}}la$ Tarr's film The Turin Horse in such a way, we can no longer be the dwarfed human beings, der Herde-Mensch. Also, $B{\acute{e}}la$ Tarr's mise-en-scene will make us realize why Nietzsche had said that there is art to us not to be destroyed by the platonic truth.

• Cartoon and Animation Studies
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• s.47
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• pp.149-170
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• 2017

which was first shown as TV series in 1995 has been highly praised until now successful animation that reflected human psychology and ideology. first gained popularity in Japan and spreaded into global animation market. Characteristics of can be summarized as mechanical design, realistic military mise-en-scene, and philosophical view of the world based on the bible. All works reflect the philosophy and ideology of the writer/creator, but reflects various form of ideology. Furthermore, 's ambiguous and vague plot made the fans to discuss and analyze about the work, which brought secondary marketing effect. In this report, the ideology reflected in will be analyzed and understand how these ideologies were reflected in the work. By analyzing religious, psychological and philosophy ideologies in , ideology can be proved as success factor of animation films.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.105-118
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• 2021

The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.359-384
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• 2012

The purpose of this study was to explore the theatrical aesthetics of the performances which was produced by the theater director, Yang Jung-Ung. Yang has been one of the most influential directors working in Korea in the last 15 years. He has put up performances all over the world with the theater members from his company called Yohangza, which was founded by him in 1997, and working as the director, portrayed his style of the theatrical aesthetics through the works of its plays and musical products. In 2012, this company performed A Midsummer Night's Dream at Shakespeare's Globe Theatre. A Midsummer Night's Dream was invited to be staged at the Barbican Center in 2006. In the same year, it received the grand prize and the Audience Choice award at the Gdansk International Shakespeare Festival in Poland. The musical products like A Good Woman from Seoul and the modern Opera Wozeck are representative works of Yohangza, which are known for a unique way of exploring the meaning of life. The 2009 plays Hamlet and Peer Gynt represent Yohangza's simpler yet more insightful theatrical style. Peer Gynt, which debuted at the LG Art Center, made headlines for its innovative staging. It received the grand prix, Best Director and Best Stage Art awards at the 2009 Korea Theater Awards. Yohangza's plays show two-side "image-based" works. The company drastically reduced verbal lines and enriched the plays with Korean sentiment and aesthetics, but their scripts contained many poetic lines full of overtones. They showed a theatrical mise-en-scene of images, energetic dance, songs in chorus and percussion. For example, Korean sentiments were subtly blended into the two Shakespeare's plays, A Midsummer Night's Dream and Twelfth Nights. Their performance combines music, mime, song and dance to create an exhilarating adaptation of Shakespeare's inventive and glittering comedy. In addition, the style of Yohangza Theatre Company is a collision of the past and the present: a reworking of existing Korean styles and themes infused with contemporary elements and full of unique exploration in the plays.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.159-188
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• 2014

Under the influence of postmodernism, modern writing tends to refuse an immediate conveyance of messages achieved by linear, unified writing. Such writing does not attempt any social participation and has no leading ethics, offering diverse perspectives. It simply relies on material property ignoring the 'here and now'. This discussion depends on the sensuous immediacy of works that are pure and uninterpretable, causing the "death of author" phenomena. Although the time was late, since the 1990s, discussion and work on deconstructive theater has been executed in the Korean theater world. This deconstructive work was achieved when lineal narratives were shattered through the shocking insertion of fragmentary episodes and imagery. Moreover, such plays were shocking presentations of severance in conversation; lack of communication; loss of pride and love; and a world devastated by violence and madness. In the 2000s, such a movement helped form a new paradigm in the theater through reinterpretation and parody of traditional dramas, while drawing general attention to postmodern theater. However, as the problems of postmodern theater are perceived through study, the limit of plays with a postmodern tendency is pointed out: such plays merely display 'deconstruction'. This thesis will examine reflective thought on postmodern theater seeking "deconstruction without alternatives" and the aesthetic concept of "le politique" by Jacques Ranciere. It will also look through the overlap of images as interval-estrangement, "lettre morte", and simulacre representing mise-en-scene aesthetics weaving "political writing". This study is meaningful in that it tries to extend the new aesthetic horizon of Korean theater, examining in 2009 and by Koh Sun-Woong in 2011, directed by Park Chung-Hee in 2010 and directed by Park Keun-Hyung in 2009.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.415-430
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• 2022

The purpose of this study is to explore the Canadian Film Director Sophie Deraspe's . Director Sophie Deraspe adapted a Greek Sophocles's novel to the Film in a modern way. For this study, adopt two research methodologies which are 'Author-structuralism' and 'culture studies', and explore traits of esthetics, narrative, subject and context meaning by analyzing . This study concludes that Firstly director Sophie Deraspe is a 'Quebecious writer-director' who represents cultural identity of contemporary Qubec, Secondly, express immigrants in Qubec using Greek Sophocles's novel tragedy as an allegory in narrative, Thirdly, enhances the dramatic effect in esthetics using virtual mise-en-scene as insert, fantasy, SNS, etc. And lastly, can confirm re-territorializing the cultural identity from the distinct characteristics of regional past tradition to the universal hybridity discours in subject. Therefore, Sophie Deraspe's is a work that symbolizes a new trend of 'New Quebec Cinema' in Canada.