• International Journal of Advanced Culture Technology
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• v.12 no.1
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• pp.262-269
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• 2024

The "AR Campus Diary" project innovates in the realm of art through integrating augmented reality (AR) with interactive storytelling, fostering personal and interpersonal development through artistic expression. This artistic endeavor metaphorically represents the growth and fruition of individual stories, facilitated by a series of progressive art activities that emphasize continual interaction between self and others. Set against the backdrop of a university campus, the project employs AR markers designed to unfold stories in phases through a dedicated application, allowing participants to experience and influence the narrative uniquely. Diverging from traditional film editing techniques, "AR Diary" offers viewers the autonomy to navigate through story segments of their choosing, marking a departure from conventional cinematic storytelling by leveraging marker-based plot progression. This project not only showcases the fusion of technology and art but also pioneers a participatory form of art education based on engagement and play.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.85-95
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• 2021

Currently, we stand between computers as creative tools and computers as creators. A new genre of movies, which can be called a post-cinema situation, is emerging. This paper aims to diagnose the possibility of the emergence of AI cinema. To confirm the possibility of AI cinema, it was examined through a case study whether the creation of a story, narrative, image, and sound, which are necessary conditions for film creation, is possible by artificial intelligence. First, we checked the visual creation of AI painting algorithms Obvious, GAN, and CAN. Second, AI music has already entered the distribution stage in the market in cooperation with humans. Third, AI can already complete drama scripts, and automatic scenario creation programs using big data are also gaining popularity. That said, we confirmed that the filmmaking requirements could be met with AI algorithms. From the perspective of Manovich's 'AI Genre Convention', web documentaries and desktop documentaries, typical trends post-cinema, can be said to be representative genres that can be expected as AI cinemas. The conditions for AI, web documentaries and desktop documentaries to exist are the same. This article suggests a new path for the media of the 4th Industrial Revolution era through research on AI as a creator of post-cinema.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.193-200
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• 2017

Computer technology pursuing more innovative image than before, makes some characteristics which distinguishes the digital fiction film from the analogue fiction film. One hand, the split screen in analogue film aides the development of drama in the aspect of narrative, on the other hand, it controls the psychology of spectator. The composite image in digital fiction film by computer graphic, and elaborated digital editing show many innovation in the field of audiovisual. In this context, I would like to remark on the digital film (2003) directed by Ang-Lee. In , the split screen and the composition of the fast transiition of shots in the scene of laboratory were created by computer graphic program for special effects. As visual special effect plays an important role in digital film, its narrative space creates a space which is distinguishable from that of analogue film.This can be an example which says a lot for the special aspect of digital narrative.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.87-95
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• 2013

"Gone with the wind"(1939, Directed by Victor Fleming) was produced in the stylistic conventions of the classical hollywood cinema, and thus the musical employment also followed the norms of the style, such as late Romantic musical style, serving the narrative, signifier of emotion, and giving continuity and unity. But, at the same time, the statement of the classical theory that the music hides and tailors itself to support the drama - invisibility, inaudibility, narrative cuing and so on - does not seem to explain the musical employment of "Gone with the wind." On the contrary, it hires music to put itself forward, and often times it stops the narrative to show musical spectacles for which the image is tailored to fit the music. These are more of music theatre or music drama features rather than the conventional underscore of the films in that period. In this study analysed the musical employment of "Gone with the wind" to see how it took full advantage of music to lead the narrative in a more active way and to make musical spectacles, by borrowing the technique and style of music theatre, such as, overture and entr'acte, similarities with film musicals, Wagnerism influence, and the use of songs.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.45-53
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• 2021

Digital morph expresses the imaginary beyond the representation of reality by expressing the narrative effect characteristically. In particular, the effect of affect can be considered to be a characteristic of digital cinema as a post-cinema. In (2013), Morphing image prominently shows the characteristics of post-cinema. By actively utilizing software technology, this film gives a shocking effect by expressing the magical image. Paying attention to the post-cinematic characteristics of morphing different from classical film, this article treated the characteristics of digital morphing. The digital morphing presents the flow of affect visualizing uncanny phenomenon of body transformation. This evokes concept of neuro-image which Patricia Pisters distinguished the neuropsychiatric pathology that appears actively on the contemporary digital screen. The Neuro-image goes beyond the temporality of Deleuze's time-image presenting future. Allegedly, the morphing of presents the neuro-images when Nina's body changed to hybrid body with black swan. Digital Morphing technique provides a shocking effect, showing delirium when the body bizarrely deformed while dancing ballet. This is different from the attraction of the morphing in film, it expresses the emotion of the neoliberal era beyond representation. In conclusion, the digital morphing presents the neuro-image system modulating the shock. This shows the characteristics of digital film which interacting and controling the shock effect as post-cinema.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.541-551
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• 2016

In order to attain 'reality', technology, style and narrative have developed throughout the history of cinema. The projection of digital image necessitated a new perspective beyond the conventional relationship between film and reality. In the SF film, DISTRICT 9, strong realism elements are evident despite its genre. Advanced technologies enabled the digital images to vividly reproduce the realm of imagination. The encounter of the realistic approaches embedded in the style and narrative with the digital images emphasizes the social context of the cinematic background, as well as extending the potentialities of verisimilitude and perceptual realism. The amount of freedom in editing process derived from this film's documentary-like style opened a possibility for the effective delivery of the vast information-furthermore contributing to the realism of the film by encompassing the diversity that exists in the reality.

• The Journal of the Korea Contents Association
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• v.17 no.9
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• pp.60-68
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• 2017

Through this thesis, I wanted to understand the form of free indirect discourse of modern films. To this end, I first explored the notion of the polyphonie as a mixture of the speaker and the character' voice in order to establish a concept related to free indirect discourse. However, I could not overlook the differences in the form of novels and movies to apply the following theory to films. Based on the concept of narrative distance, I sought to explore the possibility of free indirect discourse from the dual position of the camera. Next, I introduced the concept of free indirect discourse in the film by introducing the concept of Time in G. Deleuze' CinemaII. In other words, the time from Deleuze is the past and the present cycle, and he sees the Time circulating like the Non-Euclidean space. I wanted to understand the form of free indirect discourse in films by analyzing the concept of Time as an analysis of the movie .

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.59-70
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• 2021

This research studies the specific cases of Ryusuke Hamaguchi's re-arrangement of the original novel Net emo Samite mo(2010) by Tomoka Shibasaki to his 2018 film Asako I&II. The study focuses on the difference that has been made between the original novel and the film, which occurred after Ryusuke adapted the novel's "Telling" to the film's "Showing." The presence of the passive protagonist and the repetitions are the elements that have been avoided from the traditional Screenwriting theory for a long. Instead of avoiding it, Ryusuke Hamaguchi inherits these traits of the original novel when re-arranging to his film. Despite the presence of a passive protagonist, Hamaguchi's method of adaption increases the attention of the audience by using the other tools of Hollywood's tradition: the use of goal and want of the protagonist. In addition, Hamaguchi's storytelling strategy captivates both the modern cinema audiences and the classical film audiences by creating a story, which both repetitive structure and normative narrative structure were applied.

• Cartoon and Animation Studies
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• s.32
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• pp.263-288
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• 2013

This research is about effects which frontal-flat cameras have on narrative films. This kind of confined camera angles make the audience have a sense of tension which is barely defined logically. I think the tension comes from aleatorism. The paper is a research on how aleatorism is working on what kind of value, and what kind of effects it has on narrative films. Russian Formalism had argued they had to meet aesthetic values by totally excluding narratives. It can be said that this was a practice for Brecht's estrangement that a sensitive arousal prohibits the audience immersing into excessive empathy and then make them have a reflective thought. But occasionally, optical arousals in narrative films induce deeper immersion into contemplation rather than reflective thought. I intend to find cases regarding this textualising Front-flat camera angles in narrative films and analysing their contents. To do this, I suggest a more specified definition of 'aleatorism'. Because the concept of the aleatorism is different between an aspect of static image like paintings or photographs and narrative contents like cinema. It is divided into approach through form and approach through content. And I also suggest an operative definition about 'Frontal-flat camera angle' with a several confinements because its formal definition is very flexible depending on audience. The case analysis will be done with a form of discourse discerning two aspects of form and content. Conclusively, Frontal-flat camera angle in narrative film is basically have an effect of attention by optical stimuli. But it cannot be said that this always means deterioration of narrative value. Depending on causality of episodes in the whole story, aleatorism which Frontal-flat camera angle has can support immersed contemplation regarding following narrative rather than reflective thought regarding amusing aesthetics.

• Cross-Cultural Studies
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• v.28
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• pp.17-36
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• 2012

This essay places the South Korean film Thirst (2009) within Park Chan-wook's oeuvre as a filmmaker notorious for graphic depictions of violence and revenge. Park's use of dark humour in his films, which is emphasized in Thirst perhaps more than ever, allows for a more self-aware depiction of violence, where both the viewer and the protagonist are awakened to the futility of revenge. This ultimately paints his characters as fascinatingly crazy - simultaneously heroes, villains, and victims. Film theorist Wes D. Gehring's three themes of dark humour ('man as beast,' 'the absurdity of the world,' and 'the omnipresence of death') become most obvious in Park's most recent film, which pays closer attention to character development through narrative detail. Rather than portraying the characters as sentimental, dark humour depicts their misfortunes in an alternative way, allowing for consideration of such taboo subjects as religion, adultery, and death/suicide. These issues are further tackled through Thirst's portrayal of its vampire protagonist, which ultimately de-mystifies the traditional vampire figure. While this character has more often been associated with romance, exoticism and the mystical powers of the supernatural, Thirst takes relatively little from the demons of Nosferatu (Murnau, 1922) and various other Dracula adaptations, nor the romantic figures of Interview with the Vampire (Jordan, 1994), and Twilight (Hardwicke, 2008). Instead, it is part of a much smaller group of contemporary vampire films, which are rather informed by a postmodern reconfiguration of the monster. Thus, this paper examines Thirst as an important contribution to the global and hybrid nature of those films in which postmodern vampires are sympathetic and de-mystified, exhibiting symptoms stemming from a natural illness or misfortune. Park's undertaking of a vampire film allows for a complex balance between narrative and visuals through his focus on the Western implications of this myth within Korean cinema. This combination of international references and traditional Korean culture marks it as highly conscious of New Korean Cinema's focus on globalization. With Thirst, Park successfully unites familiar images of the vampire hunting and feeding, with more stylistically distinct, grotesque images of violence and revenge. In this sense, dark humour highlights the less charming aspects of the vampire struggling to survive, most effective in scenes depicting the protagonist feeding from his friend's IV in the hospital, and sitting in the sunlight, slowly turning to ash, in the final minutes of the film. The international appeal of Park's style, combining conventions of the horror/thriller genre with his own mixture of dark humour and non-linear narrative, is epitomized in Thirst, which underscores South Korea's growing global interest with its overt international framework. Furthermore, he portrayal of the vampire as a sympathetic figure allows for a shift away from the conventional focus on myth and the exotic, toward a renewed construction of the vampire in terms of its contribution to generic hybridization and cultural adaptation.