• Cartoon and Animation Studies
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• s.36
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• pp.375-391
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• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.75-88
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• 2021

The film won the Golden Palm Award at the Cannes Film Festival, and received the Academy Award for a non-English-speaking film in February 2020, respectively. It has received a monumental evaluation in the world film history. Overall, this film is about class conflict, and critics evaluate the theme of the film as "badly twisted class gap" and "anger from class." The film expresses an intrinsic conflict embodied in culture as a "tragedy in which no bad person appears," rather than the dichotomous composition of the classical class struggle from Marxism. In other words, this can be seen as expressing the substrated class relationship of the modern society that Pierre Bourdieu had argued. This film has been focused as a controversial target under Korea society with excess of ideology. Politics used to adopt the keyword, 'parasite', for political disputes not only in culture contents world. Paradoxically socialism China did not allow to release film 'Parasite.' On the other hand, Lee O-Yong argues that the movie "Parasite" does not look at social phenomena through a dichotomous perspective, but is viewed through a "double perspective" and evaluates that it does not lose eyes looking at humans through tension. This view is based upon 'Vital Capitalism'. Lee. O-Yong looks at the movie "Parasite" from the perspective of "Vital Capitalism". The theory of Vital Capitalism does not seek to find the root of historical development in class struggle conflicts, but rather figuring out history and society pays attention onto the intrinsic characteristics of life, Topophilia, Neophilia, and Biophilia. Lee Eo-ryeong argues that the development of civilization theory evolved from the stage of Hobbes' Darwinism or predatism to the stage of host vs. parasite of Michel Serres, and onto the stage of Margulis's 'Win-Win (inter-dependence)'. In this paper, after overview of vital capital concept and preceeding research, re-interpretations were tried onto scenes based upon fields from habitus, culture capital. This exploration looks for a alternative for excess of ideology in Korea society.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.77-114
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• 2020

This article aims to examine the Sinpa of Along With the Gods: The Two Worlds. Along with the Gods: The Two Worlds was a box office hit with a 10 million attendance mark, but it was also criticized as a 'Korean Sinpa' at the time of its release. The original version of Along with the Gods is a Webtoon called Singwahamkke in Korean. The popularity of Singwahamkke and its adaptation, Along with the Gods was enormous, which prompted a very active research to be carried about the work. However there are only a few articles which analyze the Along with the Gods: The Two Worlds focusing on the Sinpa, even though the Sinpa of the Along with the Gods: The Two Worlds was a highly controversial issue when the movie was released. In this regard, this article tries to examine the Sinpa of the Along with the Gods: The Two Worlds closely, especially by comparing it with the original webtoon Singwahamkke Jeoseung. The body part of this article is composed of three major parts: chapters 2, 3, and 4. Chapter 2 contains an in depth explanation about the notion of Sinpa, the main conceptual research tool for this study. In chapter 3, the original webtoon Singwahamkke Jeoseung is examined closely. This chapter analyzes the 'Sinpajeok moment' in Singwahamkke Jeoseung and argues that despite the presence of Sinpa elements, the webtoon cannot be considered a 'Sinpajeok text'. On the other hand the main subject of chapter 4 is discovering what effect the adaptation from webtoon to movie had on this work, with a particular focus on the gender of Sinpa and Kim Ja-hong. Chapter 5, which corresponds to the conclusion, briefly evaluates the social significance of the controversy arisen in South Korea about the Sinpa in Along with the Gods: The Two Worlds. Sinpa is one of the most repeated code in the realm of Korean popular narrative. This is why the Sinpa of contemporary text is examined continuously even though there are already plenty of studies on the Sinpa. Everyone has called Along with the Gods: The Two Worlds Sinpa but no one has properly analyzed it. It is hoped that this article which closesly examined the Sinpa in Along with the Gods: The Two Worlds contribute to the field of Sinpa. It is also expected that this article can find appropriate contextual meaning of the series of Along with the Gods.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Journal of Intelligence and Information Systems
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• v.24 no.4
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• pp.67-83
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• 2018

The Korean film industry with significant increase every year exceeded the number of cumulative audiences of 200 million people in 2013 finally. However, starting from 2015 the Korean film industry entered a period of low growth and experienced a negative growth after all in 2016. To overcome such difficulty, stakeholders like production company, distribution company, multiplex have attempted to maximize the market returns using strategies of predicting change of market and of responding to such market change immediately. Since a film is classified as one of experiential products, it is not easy to predict a box office record and the initial number of audiences before the film is released. And also, the number of audiences fluctuates with a variety of factors after the film is released. So, the production company and distribution company try to be guaranteed the number of screens at the opining time of a newly released by multiplex chains. However, the multiplex chains tend to open the screening schedule during only a week and then determine the number of screening of the forthcoming week based on the box office record and the evaluation of audiences. Many previous researches have conducted to deal with the prediction of box office records of films. In the early stage, the researches attempted to identify factors affecting the box office record. And nowadays, many studies have tried to apply various analytic techniques to the factors identified previously in order to improve the accuracy of prediction and to explain the effect of each factor instead of identifying new factors affecting the box office record. However, most of previous researches have limitations in that they used the total number of audiences from the opening to the end as a target variable, and this makes it difficult to predict and respond to the demand of market which changes dynamically. Therefore, the purpose of this study is to predict the weekly number of audiences of a newly released film so that the stakeholder can flexibly and elastically respond to the change of the number of audiences in the film. To that end, we considered the factors used in the previous studies affecting box office and developed new factors not used in previous studies such as the order of opening of movies, dynamics of sales. Along with the comprehensive factors, we used the machine learning method such as Random Forest, Multi Layer Perception, Support Vector Machine, and Naive Bays, to predict the number of cumulative visitors from the first week after a film release to the third week. At the point of the first and the second week, we predicted the cumulative number of visitors of the forthcoming week for a released film. And at the point of the third week, we predict the total number of visitors of the film. In addition, we predicted the total number of cumulative visitors also at the point of the both first week and second week using the same factors. As a result, we found the accuracy of predicting the number of visitors at the forthcoming week was higher than that of predicting the total number of them in all of three weeks, and also the accuracy of the Random Forest was the highest among the machine learning methods we used. This study has implications in that this study 1) considered various factors comprehensively which affect the box office record and merely addressed by other previous researches such as the weekly rating of audiences after release, the weekly rank of the film after release, and the weekly sales share after release, and 2) tried to predict and respond to the demand of market which changes dynamically by suggesting models which predicts the weekly number of audiences of newly released films so that the stakeholders can flexibly and elastically respond to the change of the number of audiences in the film.

• Journal of Intelligence and Information Systems
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• v.25 no.1
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• pp.219-239
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• 2019

As the importance of providing customized services to individuals becomes important, researches on personalized recommendation systems are constantly being carried out. Collaborative filtering is one of the most popular systems in academia and industry. However, there exists limitation in a sense that recommendations were mostly based on quantitative information such as users' ratings, which made the accuracy be lowered. To solve these problems, many studies have been actively attempted to improve the performance of the recommendation system by using other information besides the quantitative information. Good examples are the usages of the sentiment analysis on customer review text data. Nevertheless, the existing research has not directly combined the results of the sentiment analysis and quantitative rating scores in the recommendation system. Therefore, this study aims to reflect the sentiments shown in the reviews into the rating scores. In other words, we propose a new algorithm that can directly convert the user 's own review into the empirically quantitative information and reflect it directly to the recommendation system. To do this, we needed to quantify users' reviews, which were originally qualitative information. In this study, sentiment score was calculated through sentiment analysis technique of text mining. The data was targeted for movie review. Based on the data, a domain specific sentiment dictionary is constructed for the movie reviews. Regression analysis was used as a method to construct sentiment dictionary. Each positive / negative dictionary was constructed using Lasso regression, Ridge regression, and ElasticNet methods. Based on this constructed sentiment dictionary, the accuracy was verified through confusion matrix. The accuracy of the Lasso based dictionary was 70%, the accuracy of the Ridge based dictionary was 79%, and that of the ElasticNet (${\alpha}=0.3$) was 83%. Therefore, in this study, the sentiment score of the review is calculated based on the dictionary of the ElasticNet method. It was combined with a rating to create a new rating. In this paper, we show that the collaborative filtering that reflects sentiment scores of user review is superior to the traditional method that only considers the existing rating. In order to show that the proposed algorithm is based on memory-based user collaboration filtering, item-based collaborative filtering and model based matrix factorization SVD, and SVD ++. Based on the above algorithm, the mean absolute error (MAE) and the root mean square error (RMSE) are calculated to evaluate the recommendation system with a score that combines sentiment scores with a system that only considers scores. When the evaluation index was MAE, it was improved by 0.059 for UBCF, 0.0862 for IBCF, 0.1012 for SVD and 0.188 for SVD ++. When the evaluation index is RMSE, UBCF is 0.0431, IBCF is 0.0882, SVD is 0.1103, and SVD ++ is 0.1756. As a result, it can be seen that the prediction performance of the evaluation point reflecting the sentiment score proposed in this paper is superior to that of the conventional evaluation method. In other words, in this paper, it is confirmed that the collaborative filtering that reflects the sentiment score of the user review shows superior accuracy as compared with the conventional type of collaborative filtering that only considers the quantitative score. We then attempted paired t-test validation to ensure that the proposed model was a better approach and concluded that the proposed model is better. In this study, to overcome limitations of previous researches that judge user's sentiment only by quantitative rating score, the review was numerically calculated and a user's opinion was more refined and considered into the recommendation system to improve the accuracy. The findings of this study have managerial implications to recommendation system developers who need to consider both quantitative information and qualitative information it is expect. The way of constructing the combined system in this paper might be directly used by the developers.

• Journal of Broadcast Engineering
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• v.19 no.5
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• pp.569-577
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• 2014

From the year 2009, 3D Stereoscopic movies and TV have been spotlighted after the huge success of a movie called "AVATAR". Moreover, most of 3D movies & contents are created by mixing real-life shots & virtual animated pictures, such as "Robocop 3", "Transformer 4" as shown in 2014. However, the stereoscopic 3D video film shooting with a traditional stereoscopic rig camera system, takes much more time to set the rig system and adjust the system setting for proper film making which necessarily resulting in bigger cost. In fact, these problems have depreciated the success of Avatar as decreasing demand for 3D stereoscopic video shooting. In this paper, inherent problems of traditional stereoscopic rig camera system are analyzed, and as a solution for the problems, a novel implementations of single-lens optical stereoscopic 3D camera system is suggested. The new system can be implemented to a technology for separating two lights when even those lights passing through in the same optical axis. The system has advantages of adjusting the setting and taking video compared with traditional stereoscopic 3D rig systems. Furthermore, this system can acquire comfortable 3D stereoscopic video because of the good characteristics of geometrical errors. This paper will be discussed the single-lens stereoscopic 3D camera system using rolling shutters, it will be tested geometrical errors of this system. Lastly, other types of single lens stereoscopic 3D camera system are discussed to develop the promising future of this system.

• Journal of KIISE:Computing Practices and Letters
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• v.13 no.7
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• pp.454-461
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• 2007

Portable embedded systems have recently become smaller in size and offer a variety of junctions for users. These systems require high performance processors to handle the many functions and also a small battery to fit inside the system. However, due to its size, the battery life has become a major issue. It is important to have both efficient power design and management for each function, while optimizing processor voltage and clock frequency in order to extend the battery life of the system. In this paper, we calculated the efficiency of power in optimizing power rail. This system has two microprocessors. One is used to play music and movie files while the other is for DMB. In order to reduce power consumption, the DMB microprocessor is turned of while music or videos are played. Lastly, DVFS is applied to the processor in the system to reduce power consumption. Experimental results of the implemented system have resulted in reduced power consumption.

• Cartoon and Animation Studies
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• s.33
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• pp.383-402
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• 2013

In this study, we apply the facial Facial Action Coding System for coding the muscular system anatomical approach facial expressions to be displayed in response to a change in sensitivity. To verify by applying the virtual character the Duchenne smile to the original. I extracted the Duchenne smile by inducing experiment of emotion (man 2, woman 2) and the movie theater department students trained for the experiment. Based on the expression that has been extracted, I collect the data of the facial muscles. Calculates the frequency of expression of the face and other parts of the body muscles around the mouth and lips, to be applied to the virtual character of the data. Orbicularis muscle to contract end of lips due to shrinkage of the Zygomatic Major is a upward movement, cheek goes up, the movement of the muscles, facial expressions appear the outer eyelid under the eye goes up with a look of smile. Muscle movement of large muscle and surrounding Zygomatic Major is observed together (AU9) muscles around the nose and (AU25, AU26, AU27) muscles around the mouth associated with openness. Duchen smile occurred in the form of Orbicularis Oculi and Zygomatic Major moves at the same time. Based on this, by separating the orbicularis muscle that is displayed in the form of laughter and sympathy to emotional feelings and viable large muscle by the will of the person, by applying to the character of the virtual, and expression of human I try to examine expression of the virtual character's ability to distinguish.

• Cartoon and Animation Studies
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• s.33
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• pp.343-361
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• 2013

This paper derives the mutual relationship between film and installation art through specific case studies about the point of the intersection of the two genres. It needs to find the relationship between art painting and photography and the relationship of silent film and the relevance of the work of art in the 1920s. After painting over the installation exploring the relationship of art and through the mise en scene of the film, ie, the screen image of the configuration and deployment, or cinematic work of art for the film can be found in the application of practices. First, in Chapter 2, this study works of art practices through the analysis of film and the interaction between the two genres based practices for secure sex. In Chapter 3 the movie 'Wonderful Life' and installation art work "hand memory" through the analysis of the two cases specifically for the point of intersection analysis. 'Wonderful Life' and 'hand' Remember each subject and conceptual work in terms of 'memory' that it is represented on similar, but, film and installation art genre caused by the difference in the way the media represented by the results of the different forms of otherwise appear. If so, this study film and installation art practices through the comparison of cases to derive mutual relationship by analyzing two cases in detail what each of the different looks at whether any similarity in that.