• English & American cultural studies
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• v.17 no.2
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• pp.1-27
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• 2017

My aim in this paper is to provide a clear view of Victorian gender ideology and highlight the role played by Browning's dramatic monologues in the challenge against the strict patriarchal codes of the era. Laura Mulvey's Male Gaze theory in cinema is especially useful for understanding Browning's most well-known dramatic monologues, "Porphyria's Lover," and "My Last Duchess," because these poems are structured by polarities of looking and being looked at, the active and the passive. In her 1975 essay "Visual Pleasure and Narrative Cinema", Mulvey introduced the second-wave feminist concept of "male gaze" as a feature of gender power asymmetry in film. To gaze implies more than to look at – it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze. She declares that in patriarchal society pleasure in looking has been split between active/male and passive/female. Browning's women are subject to the male gaze, but they refuse to become the objects of a scopophilic pleasure-in-looking. Porphyria and the Duchess don't exist in order to satisfy the desires and pleasures of men. They reveal themselves as an autonomous being - reserved in Victorian gender dynamics for men. Mulvey advocates 'an alternative cinema' which can challenges the male-dominated Hollywood ideology. It is possible to say that Browning's dramatic monologues correspond to Mulvey's 'alternative cinema' because they show a counterview in terms of the representation of woman against the Victorian patriarchal ideology.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.949-960
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• 2021

Documentaries based on facts not only contain the spirit of that era but have been transformed in various ways according to changes in technologies and media. This study analyzed under the premise that the original documentary of YouTube plays a role in representing the characteristics of the medium. YouTube's original documentary is released on YouTube and then re-edited and released as a documentary film, and has the same shooting source, and is edited and described differently depending on whether it is a YouTube or a movie. This is the content that can confirm the media differences between YouTube documentary and documentary film. The cinema version shows the difference in that the narrative is developed using third-person narration and subtitles, mainly for handheld shooting and smooth editing, and the YouTube version is developing the narrative centering on audio-centric rough editing, interviews and background music. Through this, it can be seen that the YouTube version reinforces intimacy through a personal and direct expression method, while the cinema version reinforces objectivity through an official and indirect expression method.

• The Journal of the Korea Contents Association
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• v.17 no.7
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• pp.22-30
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• 2017

CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.

• Cartoon and Animation Studies
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• s.11
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• pp.41-53
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• 2007

Due to the development of digital cinema, Animations are no longer a peripheral part of movies and become major role in making films, including live action movies. This kind of change makes the distinctive line between animations and live action movies vague. In order to prevent such side-effect, this study is aimed at building solid territory again between the two by reviewing the difference and, based on it, looking for effective cinematic techniques to produce synthesized and digitalized images. First of all, consideration on mise-en-scene is crucially required to tell this line. The mise-en-scene is a director's own unique style in making films. In other words, it is a symbol expressed by him/her. With the mise-en-scene, competitive directors explore huge possibility of image expression and know how to use it audiences can understand. Therefore, I look into a set of studies on the mise-en-scene and methodological problems because it is thought that the mise-en-scene is an important element to distinguish way of expression in animations, live action movies and digital cinema. In addition, owing to these fundamental differences, both movies have their own limitation on representation even though they imitate it each other. Synthesized images produced by both representation may not overcome that limitation and even worse bring up the lack of expression and the increase on unfamiliarity, which reduce audiences' interest. But ironically speaking, digital cinema accept each representation. And it serves as hindrance to narrative's delivery not to balance each of it. Therefore, digital cinema that integrate animations and live action movies should keep an eye on the overuse of images and pursue balanced mise-en-scene.

• Cartoon and Animation Studies
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• s.29
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• pp.209-241
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• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.

• Trans-
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• v.16
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• pp.107-133
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• 2024

Narratives are fundamental to human cognition and social culture, serving as the primary means by which individuals and societies construct meaning, share experiences, and convey cultural and moral values. The field of artificial intelligence, which seeks to mimic human thought and behavior, has long studied story generation and story understanding, and today's Large Language Models are demonstrating remarkable narrative capabilities based on advances in natural language processing. This situation raises a variety of changes and new issues, but a comprehensive discussion of them is hard to find. This paper aims to provide a holistic view of the current state and future changes by exploring the intersections and interactions of human and AI narrative intelligence. This paper begins with a review of multidisciplinary research on the intrinsic relationship between humans and narrative, represented by the term Homo narrans, and then provide a historical overview of how narrative has been studied in the field of AI. This paper then explore the possibilities and limitations of narrative intelligence as revealed by today's Large Language Models, and present three philosophical challenges for understanding the implications of AI with narrative intelligence.

• The Journal of Korean Academic Society of Nursing Education
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• v.16 no.2
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• pp.194-201
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• 2010

Purpose: Recently teaching nursing to undergraduate students has been based on the constructive teaching method to achieve the core nursing competency. Therefore, non-traditional teaching methods should be introduced for a stimulated interaction between the lecturer and students and to increase information retention and interest in nursing. The purpose of this paper was to review current issues related to the use of cinema in nursing education. Method: A literature review was conducted to grasp the definition of cinemeducation and to identify the uses, merits, and demerits of using cinema in nursing education. Conclusion: Cinemeducation is an innovative approach to teaching multi-cultural diversity in medicine and nursing. It is possible to conduct cinemeducation to deepen student's understanding of cross-cultural issues and to evoke imagination, empathy, and narrative. Movies are funny, entertaining, and readily enjoyed by learners. Since individuals portrayed in movies are not real, learners can be more honest and objective about their reactions to these characters. In addition, movies as instructional media are economical. I would like to suggest more curriculum development for the use of movies.

• International Journal of Contents
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• v.13 no.3
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• pp.43-48
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• 2017

As a computational approach to literary criticism, the method of character network analysis has attracted attention. The character network is composed of nodes as characters and links as relationship between characters, and has been used to analyze literary works systematically. However, there were limitations in that relationships between characters were so superficial that they could not reflect intimate relationships and quantitative data from the network were not interpreted in depth regarding meaning of literary works. In this study, we propose an improved method of character network analysis through a case study on the play . First, we segmented the character network into a dialogue network focused on speaker-to-listener relationship and an opinion network focused on subject-to-object relationship. We analyzed these networks in various ways and discussed how analysis results could reflect structure and meaning of the work. Through these studies, we strived to find a way of organic and meaningful connection between literary criticism in humanities and network analysis in computer science.

• Journal of Korea Multimedia Society
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• v.18 no.3
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• pp.419-428
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• 2015

Stone is a hybrid genre movie in which two different film genres coexist; one is a gangster movie, the other Baduk movie. This film deals with a relationship between an old gangster boss and a young Baduk player. The coexistence of two different worlds becomes a reason for a unique ambiance of this film, because Stone is dynamic and brutal as much as static and meditative. Firstly, this article aims to analyze the narrative structure and characters of this film comparing with conventions of gangster movie genre, especially 'jopok film' of Korean cinema. Secondly, we examine characters of this film and their relationship. Since the economic crisis under the IMF structure, a great part of korean gangster movie has represented the weakness of the fatherhood and the disorganization of family. However, in Stone, the friendship between two heroes, Namhae and Minsu, turns to a father-son relationship. In this way, Stone transformed conventions of film genre.

• International journal of advanced smart convergence
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• v.11 no.2
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• pp.71-76
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• 2022

The continuous development of virtual reality technology in the last five years has brought about a big change in the future film industry. Interactive VR movies using virtual reality technology in movies showed the result of increasing the immersion of the audience due to the characteristics of interaction. This will provide a unique opportunity for a new experience of immersion in various forms of cinema in the near future. In this paper, the interaction of narrative VR movies was studied as an example of the movie , which won the [The Best VR Experience Award] at the Venice International Film Festival, In future development, improve the scene transition, Dizziness, Ways of interaction and other questions, let the audience increase the sense of participation, immersion and curiosity when watching movies, and make watching movies a more interesting thing in life.