• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.86-94
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• 2013

2000s Korean cinema was influenced by capital, so it chose the way of Allegory instead of talking directly about sensitive issues. A representative movie director is Park Chan Wook who directed The Vengeance Trilogy. , The final part of Park Chan Wook's The Vengeance Trilogy, reflected Baroque Aesthetics. I analyzed focusing on Walter Benjamin's Allegory notion in this paper. Walter Benjamin said Allegory is different from a symbol which is represented by totality. Allegory means to reconstruct the fragment instinctively and to expose something repressed. The German Tragic Drama during the baroque period reflects this well. It is my argument that Park Chan Wook incorporated these underlying themes from German Tragic Drama into . He deconstructed the liberation and the birth myth of a nation, and he restored the socialist and anarchist who were completely excluded from history.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.100-107
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• 2013

Agn$\grave{e}$s Varda is a French representative female film director. In particular, the method combining subjectivity and objectivity is the most outstanding characteristics. However, it can be said that the method to support this is not only theme of the film but also creation of structure including the exploration for the filmic form different from classical film form. Such an approach accords with No$\ddot{e}$l Burch's refined analysis of filmic form. Therefore, This study aims to aesthetical analysis of the form of producing the structure in modern movies through which is one of the representative work by Agn$\grave{e}$sVarda and won the Golden Lion award in 1985 Venice Film Festival. The theme of the film, the recovery of relationships among people and contacts through the tragic death of drifting life, created a new filmic structure by formative experiment of the film. The formative experiment is the fragmented and repetitive construction with the introductory voice-over, and consists of movement and editing of camera and specific use of flashback and sound through the representation of figures and situations, mixture of narrative and non-narrative style.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.127-141
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• 2012

With the help of information technology for a film, characteris both the composition of the story and one of the most important elements that lead the story. Character has a close relationship with personality description, and the character's age, background, education, and occupation help decide his or her personality. Charades are important in that by describing a character's psychology using charade techniques, it gives a stronger impression than by describing with merely lines or narration. When a man's thought changes, their behavior changes; when a behavior is repeated, it becomes habit; when a habit is repeated, it becomes nature. The nature is the person's personality, otherwise called character. Therefore, charade techniques describe a character's psychology well, and consequently, it has maintained its importance. Because human nature and in-depth psychological description have a connection with a character's personality development, I would like to discuss the topic through this research. By using Director Shunji Iwai's "April Story" as the text, the effects of charade techniques on a character's personality development in film will be analyzed by seeking and presenting the methodology shown within the work through charade-acting techniques used by the characters for the development of character's personality.

• Journal of Digital Convergence
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• v.15 no.2
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• pp.301-307
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• 2017

Once, the faster the digital technology developed, the more provocative obscure commercial film has spread like a trend. Researching the aspect of the successful films, about 10 million audience in 2016, we can find the similarities that only social phenomenon, stands itself without real-existence, which makes public sentiment. I will list up all the problems that I mention above with audience's review and analyze the famous film "the wailing" with big social attention, having 6.8 million audience. I will seek the better way to developthis movie, in terms of artistic dignity and depth as an public-art. With great depth, the realistic application of cultural inheritance, holding mankind common, such as culture, philosophy, religion, history, would be an essential proposition for obtaining cultural emotional empathy from the people in the society. Based on this, the theme and massage from a director, should be expressed in order to be a master piece work beyond time and space in the film history.

• Journal of Fashion Business
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• v.17 no.1
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• pp.98-113
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• 2013

This study is an attempt to analyze the daily life of the Western-yearning Seoul citizens and the inflow of the Western culture into certain social classes. The customs of the characters in the film are studied to illustrate the process of deconstruction of Korean traditional clothes due to the Western influence. The combined application of the Western and Korean styles is also observed. All this study leads to the sense of homogeneity of the times and the conformity to the culture the Korean women shared, which boils down to the social identity of the Korean women who sought an escape from the men-centered social structure by displaying their competence in the field of global modern fashion. As Seonyeong Oh, the main character of the film, , was wearing in the movie the Korean traditional dress, socks, rubber shoes, and then a western-style coat, it well shows that in 1950's, the traditional dress and ornaments were mixed with Western styles. In time, men's wear were completely changed from the traditional Korean clothes to suits, while women's could not break off from the traditional clothes and become westernized, which indicates that the men-centered conservative ideas to keep women within the feudal regime of the society remained. The military look of Seonyeong Oh while she was acting in the society was a symbol of anti-bias against women and anti-convention as well as the will of freedom as an independent woman. Besides, the modern girls would wear clothes of military fashion, Dior's trapeze line, and knit styles flattering the figures. All these well show their desires to embrace Western cultures, especially their dress fashions as well as manners as so-called enlightened ladies. All these elements show that the director was trying to represent the progress of the drama, characters, and psychological states by means of the dress and ornaments.

• Journal of Digital Convergence
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• v.16 no.5
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• pp.425-433
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• 2018

Korea's film industry structure is focused on commercial movies centering on large companies, and its diversity and artistry are relatively overlooked. In addition to trends in the digital media age, the flood of consumable contents on the basis of special effects such as C.G, And is losing popularity as a popular art. The popular art should lead the mature social culture with the educational enlightenment character which induces the indirect experience and the wide insight of the world through the material and expression about the humanities study of the individual and the society. The analysis of the society's artistry and artistry about the movie "(2017)" can be a measure of the definition and kind of artistry in commercial movies and methodology about the manifestation of artistry. As a research methodology, we try to measure the future of the film industry by analyzing the status of the film as popular art, such as intellectual exploration and logical completeness of the essence of society, Through analyzing and criticizing the artistic characteristics in commercial films, I would like to suggest some improvement points by deriving the indicators of the artistic nature of commercial films. The film "1987" is a good example of an ideal commercial film with an artistry that cultivates cultural literacy, promotes civic consciousness through enlightenment messages, and plays a role of self-reflection through art experience. In other words, it shows the possibilities of commercial film with artistry in popular culture, such as a humanistic examination of true history and society, and an introspective gaze of the director expressed through the film society.

• Cartoon and Animation Studies
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• s.30
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• pp.245-262
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• 2013

This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.

• Journal of Digital Convergence
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• v.15 no.9
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• pp.453-461
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• 2017

The video image in the movie has become more spectacular than ever, and the expression area and the subject have been infinitely expanded, but it can not be said that the range of imagination has expanded. Instead, the 60s and 70s, which were the epochs of popular culture, The film that implements the artististic visual style and expression style of the artist. Stanley Kubrick's "Clockwork Orange", which has been pursuing technological perfection and experimental style, was created using traditional video grammar and gained a great repercussion with outstanding material and high artistic expression technique at that time. These techniques have led audiences to rational observation through irony, rather than emotional sympathy for the situation, for extreme violence and sensational films. This is because the purpose of the director was not to be in technological perfection but to reveal the contradictions of the real society and to reflect on the meaning of the existence of society itself. These creative traditional visual grammar and expression methods are a good visual style that enables the intentionally transmitted message to be transmitted more intensely and effectively, and the artistic depth can be created at the same time by unconsciously perceiving the meaning present on the back to the audience.

• Trans-
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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.

• (The) Research of the performance art and culture
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• no.18
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• pp.283-314
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• 2009

This paper is an attempt to examine historical drama which change rapidly in the manner of seeing history. Historical records are treated differently unlike in the field of modern history. Now the distinction between historical facts and fictions becomes no longer important. This change is affected by micro history, new cultural history, or post-modern history. History and narrative become interactive each other. In this respect they are no more historical drama. by Han Areum (director Suh Jae-hyung) represents this new trends. Of course, it doesn't suddenly pop up in 2005. It began in by Lee Yoon-Taek, was reinforced in by Kim Tae-Woong, and bloomed in . I intended to search important features of by following three. First is the interest about unimportant persons such as a maid of honor, an eunuch. In , they are the main characters. The author described much about those trivial people revealing the truth in different way of the existence. Second is the way of calling a past. In this piece, the past is not continuous. The past always appears at the stage by the present in the form of split which is imagination, recollection, revival. Third is a mixing genre. Comics, melodrama, and thrillers are all together in . This is a similar phenomenon to historical novel and movie of new trend. Strictly speaking, this piece isn't a history thriller. The accident of lost prince doesn't be treated importantly and the result isn't clear either. In this piece, detective genre is used for a symbol showing that writer pursuits the history, not the event. This represents well the characters of new historical drama because how historical facts are carefully recreated and constructed are important. It's enough to show the possibility to mix genre through comics and melodrama.