• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.74-84
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• 2014

The places of the movie are not a just backdrop, are discribed by the character. Imagetelling movie is a character movie by itself. One of the famous korean director which made a imagetelling movie is a Kim-kiduk. Most of his movies are the lonely people who lives a insulated locale like a island. The is also lonely people who lives in insulated area in Seoul, Korea. The is the best movie of all his film life. This Thesis will explain how to make a narrative using a chunggye industrial tools center more effectively and define the power of the locale in the movie.

• Journal of Acupuncture Research
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• v.26 no.6
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• pp.187-203
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• 2009

Objectives : Korean director Bong Joon-ho's movie 'Mother' is a story about a woman who struggles to save her son from an indictment of murder. This movie premiered at the 2009 Cannes film festival. The present study aimed to investigate the various roles of acupuncture in the plot from the perspective of movie professionals, including critics, writers and producers. Methods : We investigated the meaning of acupuncture as a subject matter in this movie. Participants who work in the film industry or are studying film were included. Survey questions were organized in a two part open-ended questionnaire and in multiple-choice form. The questionnaires were distributed via e-mail or the subjects were contacted directly. Results: In this movie, acupuncture serves at least three roles. The first role it serves is as a symbol of the mother role in her son's life and in her community. Acupuncture also works as a conduit for communication and a means of earning a living for the mother. She strives to clear her son's name by discovering the real murderer through performing acupuncture. Finally, the acupuncture box is crucial in the son's understanding of the mother's role in the crime. Seventy-nine percent of those surveyed responded that acupuncture was an important motif in this movie. Conclusions : These findings, in addition to those of previous studies, suggest that acupuncture can serve as a useful context for mass communication in media. The understanding of the meaning of acupuncture in the movie provides useful information on the perception of acupuncture modality today.

• Journal of Power System Engineering
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• v.18 no.6
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• pp.45-50
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• 2014

In the previous paper, we have reported on the development of foaming sponge seat with the auxiliary spring member and suggested new possibility of the special seat with the auxiliary plastic member for movie theater chair. In this study, we have examined the major design parameters needed in the development of a foaming sponge seat in which the mesh type plastic member are inserted to improve the vibration transfer effect of a chair seat. Through analyzing several prototypes by applying experimentation as well as the experimental modal analysis method, it was confirmed that the effect of vibration transfer can be improved through the use of a mesh type plastic member and applied to the design of practical chair seat.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.186-194
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• 2011

This manuscript aims to study on the strategy in conversion of media to movie as the second exit for consumption on the webtoon and it can strengthen the position of webtoon as the orignal work. This was just since webtoon had been adapted in other media. The characteristics of media in webtoon can be merit but is variable because the characteristics of media between movie and webtoon are entirely different. , webtoon had storytelling with impressive characters as the component which was proper to media of movie in comparison of the precedent works whose media had been converted from the original webtoon. In case of movies whose media had been converted from the original webtoon, it is inevitably to be dramatized by a director because it is converted to completely different media. The discriminative factors of storytelling are largely owed to the variation of the simple lined characters and structure of storytelling. These could make receivers understand easily when they watch the movie . And then, it had a role as the mechanism that receivers satisfied their expectation. Finally, the movie was succeed with these reasons.

• Cartoon and Animation Studies
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• s.40
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• pp.1-31
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• 2015

The Korean animation that has relatively short history compared to the Western Europe and Japan's animation started out from the non-commercial short-piece animation produced as part of advertisement animation and culture movie in the later part of 1950s. In 1960s, the culture movie animation reflecting for the Movie Act and cultural policies has hardly been mentioned in the history of Korean animation, but they are the precious cultural work produced prior to the theatrical long-piece animation. In particular, compared to the 15-second short CF animation, the short-piece animations are ranging for 4 minutes to 10 minutes as the work pieces with the historic value to measure the level of the Korean animation at that time. in 1960s, approximately 20 short-piece animation works were produced and they contained the educational contents to enlighten general public in the process of modernization policy. Those short-piece animations produced in cultural movie at the National Film Production Center of Korea had been produced not only in cell-facilitating cartoon animation, but also in paper animation and puppet animation. In this background, this thesis takes a close look to the short-piece animation works produced in the National Film Production Center of Korea in 1960s. While there was almost no studies of early short-piece animation other than CF works, it is meaningful to discover and analyze the works, and, Director Park Young-il, Director Han Sung-hak, Director Jung Do-bin, Director Shin Dong-hyun, Director Nelson Shin and others participated in the creative work process have worked as the animation directors for theater that the analysis on the works would be considered as important fundamental studies to understand the Korean animation. Under this thesis, it is intended to study the historic implication and formative characteristics around some 10 work pieces to affirm participating personnel, including directors, for the short-piece animation created by the National Film Production Center of Korea as well as the situation of time to launch the National Film Production Center of Korea in 1960s. Through this effort, it is intended to come up with the starting point to process enriched researches on non-commercial short-piece animation as well as contemplation on the Korean animation history that have been neglected in the study of the Korean animation history through such effort.

• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.168-177
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• 2019

In cinema, a montage can be defined as temporalization. In reverse, it is evident that this method results in the spatialization of time. In movies, you are free to go to the past or future, see separated times together, and separate the same time into different ones. Therefore, in one aspect, time is turned into space, and on the other hand, space is turned into time. In conclusion, space in cinema inevitably expresses time. The movie the creative arrangement of time and space played a big role in making a movie that simply overlaps a story from high school to the present attract over seven million audiences. Director Kang Hyung-cheol used his unique film production language to transform boring into cheerfulness and stale to delight, and he helped the audience heal their wounds from their youth. He said, "The most important aspect of movie production is creating visual stories, and the background of such visual story is time and space." This paper aims at analyzing the creative time and space production of the director in the film .

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.574-585
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• 2014

Filming of movie is not working for translating scenario of story or character's moving. Director of Photography accumulates emotion in scenario through image. The accumulation of continuation is the essence of movie. Therefore, cinematographer strives consistently to analysis scenario and to express through visual which operation of the most basis can be filming technology. Eventually, Filming of movie is based on mean of technology to show artistry work. Accordingly, searching the most fundamental of filming's technical factor considerably help to understand movie art. There are variation technology factors to expose character's emotion. And the most simple and influential try by only using the pure function of camera is utilizing shutter without supporting lighting and production design. As a result, this thesis discuss about essential and basic factors of utilizing shutter.

• Journal of Korea Multimedia Society
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• v.20 no.6
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• pp.969-977
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• 2017

Through Rene Girard's theory of triangle of the desire, this research investigates the mimetic nature of desire as shown in the main character of the movie The Servant. This paper analyzes the structural transformation of desire in the character, which is revealed by the process of reinterpretation via the medium change and convergence from Chunhyangjeon, a classic oral novel in Korea, to The Servant, a movie created by director Dae-woo Kim in 2010. The Servant is a meaningful research subject as the transformation of the inner desire of the character is accomplished by boldly designating Bangja, who is supposed to be a minor character, as the protagonist. In particular, Rene Girard's argument on the indirectness of desire in the theory of triangle of the desire helps understand the point where the character' inner desire, which naturally occurred in the existing narrative, transforms into the mimetic desire by an intermediary. This indirectness of the mimetic desire of the main character suggests a similarity with modern men's vanity which is offered by the capitalist era. Through this, the modern meaning of the mimetic aspect of desire as revealed by the transformation from the movie The Servant to Chunhyangjeon can be understood.

• Journal of the Korean Society for information Management
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• v.31 no.4
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• pp.161-178
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• 2014

Recently, many information services allow users to collaborate to produce and use information. Sharing information is also important for users who have similar taste or interest. As various channels are available for users to share their experiences and knowledge, users' data have also been accumulated within the information services. This study collected movie lists made by users of IMDB service. Co-word analysis and ego-centered network analysis were adapted to discover relevant information for users who chose a specific movie. Three factors of movies including movie title, director and genre were used to present related movie information. Movie title is an effective feature to present related movies with various aspects such as theme or characters and the popularity of directors affects on identifying related directors. Genre is not useful to find related movies due to the complexity in the topic of a movie.

• Trans-
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• v.2
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• pp.75-94
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• 2017

The film director is the responsible for artistic quality of the film. In Hollywood, the director considered as a technician only visualizes the given scenario. In the 1950s, young critics of the Cahiers du cinéma, who were at the center of Nouvelle Vague, re-qualified some Hollywood directors, for example Alfred Hitchcock, Howard Hawks and John Ford. They are considered "auteurs(authors)" because their films have their own styles. In France, the word "auteur-directoir" is often used in the film production. It refers to the person who writes the original screenplay of a movie. Auteur's legal definition of copyright is set out in Article L.111-1 of the Intellectual Property Code: "the auteur of a work of the mind enjoys the work by reason only of its creation, of an exclusive intangible property right and opposable to all. On the other hand, in the definition of producer, it is the natural or legal person who takes the initiative and responsibility for the realization of the work according to Article L. 132-23 of the same code. We study here the competence and responsibility of the French director as an "auteur" by consulting the two types of contract: director-technician and author-director. We rant to offer a reflection on the position of the film director and the relationship between the director and the producer.