• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.181-187
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• 2019

The theme of "youth love film" is a strong point in the Korean film industry and has made remarkable achievements in the overseas market. Jae-young Kwak is a famous Korean film director and screenwriter. He is good at shooting "youth love film" with beautiful pictures, exquisite emotions and rich imagination. His films have unique charm and characteristics. This paper expounds the image style, characterization and theme. First of all, from the perspective of image style for this paper, analysis of the film is how to use different narratives and lens language to create a movie's atmosphere, makes the transfer of drunk the oriental beauty. Secondly, the main focus is on the director to find a new way to shape the characters in the film, and pay attention to the description of details, foreshadowing and explaining the plot. Thirdly, based on the theme, this paper analyzes the profound meaning behind romantic films, which reflect the yearning and pursuit of modern people, and people should pay attention to and think deeply. In the modern economic globalization, countries culture mutual exchanges and cooperation, South Korea many outstanding movie worth exploring and research, by studying the Jae-young director Kwak youth love films, excavate its popular film in the market of reason, analysis of the works reflect the aesthetic characteristics, which sums up the experience of the youth love film.

• The Journal of the Korea Contents Association
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• v.17 no.4
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• pp.132-146
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• 2017

Over the years(1971 to 1987), only 20 Korean film production companies had been granted the exclusive rights to make Korean films in Korea and to import foreign films with a quota system. They had been making trashy Korean movies to secure import quotas of foreign films. Newcomer's entry of market had also been limited and the growth of Korean films through innovation had been hampered. In the same period, The annual number of Rookie director is 10, the portion of debut films of all Korean films is 10.62%, and the audience portion of debut is only 10.5% of Korean movie audience. From 2004 to 2016, total number of rookie directors is 874, and 61.72% of 1,416 directors who made his debut over the 46 years from 1971 to 2016. This is far more than the number of directors who debuted for the last 32 years. From 2004 to 2016, the annual number of rookie directors is 62.15 and their debut film occupies 39.58% of the total amount of Korean movies released and 32.8% of the audience number. Since the full opening of the domestic market to foreign films industries in 1988, the liberalization of independent film production in 1999, as a result of innovation of a competitive system, the Korean movies have been loved by audiences. However, there are concerns that the decline of the screen quota in 2006, the monopoly of the 4 major distributors, increase in indie movies and Semi-adult movies for VOD, could be the potential threat for future innovation in Korean cinema.

• 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.

• Journal of Korean Philosophical Society
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• v.117
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• pp.249-273
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• 2011

In this paper, I suggest a discourse on some delicate relations between the philosophy and the cinema, or between the visualizing philosophical reflection and the contemplating cinematic imagination. In this context, G. Deleuze is not a simple philosopher and Director Hong, not a director. Each is a kind of metonymy. Deleuzean style of philosophizing asks for Hong's nomadic style of producing cinema. and of course in the same manner, the latter asks for the former. The latter visualizes the speculative empiricism of the former, the former crystalizes the visual esthetics of the latter. To speak with Deleuzean vocabularies, it is not possible for the State Apparatus to capture the diverse works of director Hong. Because each of them is a kind of War Machine which always slips from every tackle of State Apparatus. Deleuzean key word 'genetic becomming' is a main concept of Hong's works. The point is not to dispose the theses 'becomming' of his works in the line of series but to release them in the line of rupture. My paper would show the sharp ridicules director Hong had poured on the conservative circle of the cinema in the context of Deleuzean nomadology.

• Journal of Korean Philosophical Society
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• v.137
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• pp.409-438
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• 2016

The movie, Battle of Wits which is based on the cartoon by Morihideki(森秀樹) is directed by Zhang Zhiliang(張之亮), a director from Hong Kong. Morihideki's cartoon is based on the novel by Sakemikenichi(酒見賢一). The movie represents a successful one-source multi-use case. Battle of wits, which deals with the Mozi's propaganda against war, presents the thought of Mozi School(墨家) in spring, autumn, and warring states. The movie criticizes aggressive war by powerful nations. Aggressive war is an extreme form of brutality and worthless action without any benefit. Aggressive war represents 'never each love(buxiangai, 不相愛)' and 'never each benefit(buxiangli, 不相利)' as understood by Mozi. The main character of the movie endeavors and successfully defends the enemy's attack as Mozi did. It is due to the propaganda of Mozi School 'not to attack(feigong, 非攻)' that they can defend themselves from the attack from a powerful nation. It means that 'the universal love(jianai, 兼愛)', the ideology of Mozi, is concretely actualized. The philosophy of Mozi School in the Battle of Wits has its limits as follows: the thought of Mozi School is just suitable during times of war and unnecessary in times of peace, the contradiction between universal love and hatred for one person; the Mozi School's faith in the nature of human beings to confront betrayal. This limit was also proposed in the movie. However, the movie presented how the masculinity of Mozi School, supplemented by the feminity of Daojia(道家), can succeed in achieving genuine communication. When focusing on this point, the movie can be interpreted as biased towards the philosophy of Daojia.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.89-90
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• 2014

This paper is the music director Miklos Rozsa participated crime To infer the narrative around two classic movie The study of musical functions. Two films are Double indemnity, 1946 and The Killers, 1948. The main theme was used in the movie Keywords that appear only after analyzing crime scenes film Possible inference of narrative musical expression around the room Examine the law. In the case of a crime movie theme music Indicate the start and development progress, planned steps and proceed only Through the proactive behavior of the system behavior and the final results after the acts To commit a criminal act represents lesson. Music maneu Can be inferred by the narrative of the crime and the crime film To progress in the music scene, and combine with effects The maximum tension over.

• Cartoon and Animation Studies
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• s.32
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• pp.221-244
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• 2013

The purpose of this study was to concentrate on macroscopic discussion about how the recurrence of actual case in move is accepted ideologically. When considering the characteristic that non-visual factors are embodied when movie image reflects a certain target, the issue of recurrence has always caused discussion. Regardless of its independence or dependence, one individual's experience can be similar to sensual recognition but it can't be identical. Therefore, 'the truth recurred by movie' can't be real 'truth'. When director expresses the target, the aesthetic intention gives an effect to audience's emotion and recognition, Therefore, the study tries to review whether the movie truth drawn by movie can reach the possibility of epistemology agreement.

• Journal of Fashion Business
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• v.25 no.1
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• pp.150-164
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• 2021

This study analyzed the punk style shown in the movie Sid and Nancy (1986), based on a true story. The purpose of this study was to prove that the styles of the main characters had some discriminatory mode as an anti-fashion with not only the value system of the subculture but also the diverse cultural codes applied, revealing their identity. The scope of this study covered the 1970s when Sid died while a member of the Sex Pistols, but was limited to the analysis of Sid and Nancy's costumes. As theoretical background, this study reviewed the preceding studies, specialty books, movie-related sites and their postings, and on-line news reports. To analyze the movie costumes, relevant scenes on the DVD were captured, and thereby, the scenes were categorized per character and style but a performance scene was categorized Sid and Nancy as same punky wedding style because of intention spirituality to marriage by director, and thereupon, 17-cut images were used for the analysis of main characters' styles. Sid's style consisted primarily of black leather jackets, symbolic T-shirts, and jeans, whereas Nancy's style implied a punk style with added fetish styles. Even in the same punk style, their identities were symbolized through bricolage. Through this, subculture styles, were able to confirm that in addition to the value system of subculture, discriminatory modes as anti-fashion with various cultural codes played a role in revealing their identity.

• Journal of Fashion Business
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• v.9 no.1
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• pp.99-112
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• 2005

The purpose of this study is to create party wear of heroine Satine's image. This study analyzed the costume and its image of the film "Moulin Rouge" which the director Baz Luhrmann filmed the club 'Moulin Rouge' has existed in Paris, France. Catherine Martin, who got the Academy awards in movie costume and art director with this film, made the costume which was added more gorgeous and modern sense for the image beauty for costume in film from the costume design which appeared in the art work of Toulouse-Lautrec painted Moulin Rouge. In the costume form, S-silhouette robe with gored skirt was appeared as usual garment and gorgeous corset style costume which was outer garment like underwear exposed of the body, pleasant apolaustic and decorated excessively was appeared for costume design. Based on the above study, this study created the party wear of the graceful eroticism image and the prostitute eroticism image of heroine Satine. The costume design of Satine's image was planned along the character which was analyzed through this study.

• English & American cultural studies
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• v.10 no.2
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• pp.29-48
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• 2010

This paper is a kind of interdisciplinary studies which connect a Western film criticism with a criticism of minority literature in America. My purpose in this paper is to put on the table such a sensitive issue as racial representation and representativeness in Clint Eastwood's revisionist Western, Unforgiven. We admit generally that Western films have contributed to the white American myth-making of how the West was won. Yet, since the mid-1960s, a growing number of revisionist Westerns were produced so as to raise a question about the conventional way of looking at what happened in the American West. In order to analyze the problem inherent in the way of seeing, I pay attention to how the director Eastwood (re)presents a character named W. W. Beauchamp in the film. Presumably, what the character Beauchamp misses in the West can be overlapped with what ordinary film viewers miss in the genre of Westerns. Given this, interrogating both what Beauchamp sees and what he misses within the movie, I attempt to disclose how much of the West has been unseen from his biased viewpoint. By doing so, I argue why it is important to focus on some passing scenes that touch on the irony of a Native American train passenger, the gaze of the mute Native American housewife, the abrupt disappearance of Asian American men, the lynching of African-American ex-cowboy, and the self-determination of the saloon prostitutes. Then I hope that, conservative and mainstream though the director is, his way of revising the Western is not quite far from my minority-conscious critical position.