• Journal of Popular Narrative
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• v.25 no.4
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• pp.263-288
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• 2019

Barrier-free films enhance accessibility to audiovisual image contents by providing specific information on screen and through sound so that people with vision or hearing loss can receive the same amount of information as those without disabilities and immerse themselves in the audiovisual images. This study pays attention to barrier-free audiovisual contents in relation to the cultural civil rights of people with vision or hearing loss in South Korea. While institutional efforts have been made in the 2010s to improve the access to audiovisual media of people with vision or hearing loss, the goal of enabling people with vision or hearing loss to fully enjoy all audiovisual contents at a level equal to the non-disabled has not yet been realized. Amid the lingering conflict between disabled groups and multiplexes that has lasted years, the global video streaming service Netflix has aggressively threatened the dominance of local multiplexes with the launch of its Korean service. As Netflix, which is subject to U.S. regulations guaranteeing the rights of people with vision or hearing loss, has produced original dramas and movies involving Korean production teams, the cultural civil rights discourse of the disabled has transitioned to the issue of the rights of cultural consumers crossing national borders in the era of globalization. Changes in the media environment raise the issue of civil rights guarantees in which disabled people enjoy the right to simultaneously watch movies and comment on movies by participating in a common discourse, equally with non-disabled people. The "right to be part of the audience for Korean cinema" for Korean deaf people, which has long been neglected, should also be considered as a cultural civil right that crosses the boundaries of language, nation and disabilities. This essay examines the current issues surrounding the right to cultural entertainment of people with vision or hearing loss in South Korea in conjunction with the contemporary trend of rapid changes in the media environment and the global spread of the movement for cultural civil rights of people with disabilities, and suggests the need for visual culture studies to take a serious step toward disability studies.

• Cartoon and Animation Studies
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• s.33
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• pp.317-341
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• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.

• Archives of design research
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• v.17 no.2
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• pp.403-412
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• 2004

Animation has been developed with trying a transformation of a reality continuously. The animation's trio is needed to study how the reality is expressed, transform, and developed through postmodernism, which the culture characteristic is one of culture phenomenons. First of all, to study, it s need to define what is animation and postmodernism. And then, the characteristic of postmodernism is studied to figure out how to relate with the reality in animation by the definition, and the reality is classified and expressed properly by a animation film. According to the study, the theory of simulation in animation based on Jean Baudrillard is to express the reality of post modern animation. 11 also shows what master narration is collapsed by the disorganization an outlook on consideration of an idealism and an absolutism and by the reality based on the implication aesthetic through the stream of the times. Finally, according to the combination of the genre such as the mixing 3-Dimensional and 2-Dimensional images, the appearance of the new genre is a result of the autogenous efforts in the animation which makes up the lack of the narrative due to the magical character of the hyper-realism image and the external image caused by the rapid development of technology. In this paper, the post modern reality is analyzed by a animation film such 'Animatrix', and the paper discusses how to express and re-analyze post modern reality in the animation.

• The Journal of the Korea Contents Association
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• v.17 no.11
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• pp.82-89
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• 2017

This paper intends to examine how North Korea has incited and persuaded its people by figuring out the structure regarding the meaning creation of its documentary film "Kim Jong-un, the Respected Comrade Supreme Commander, Giving On-site Guidance on the Grand Project of the People's Army" produced in 2015, which was North Korea's politically important year. The analysis results show that its narrative structure of the film took the form of an introduction, body, and conclusion to substantiate it obviously given theme. Its imaging techniques are geared towards uplifting the public's combat mentality and its sound contributes to achieving their adherence. In this regard, its film literature has the following meaning structure: first, the film takes the form of both film annals and the structure for the public to easily comprehend; second, the film clearly demonstrates its deep-rooted theme asking for the public to follow in the footsteps of the party's late father for its leadership; and third, the film also aims to establish the images of an always awake working leader by implanting and arranging the leader's diligence about his revolutionary activities in the documentary film. North Korea's documentary films serve as a weapon used for instigating revolution and construction. Given this, the producers of all documentary films have made sure to turn film literatures into the film literatures of the great leader. It was identified that under the social vision that the Kim Jong-un regime is a "socialist civilized country", he has tightened his grip on power in North Korea through the propaganda tool of film literatures.

• Cartoon and Animation Studies
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• s.18
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• pp.37-56
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• 2010

This paper focalizes on the 'evolution' of monster animation and . Actually, Many characters' 'Evolution' is a very powerful convention of Japanese genre animation. Lots of young people feel a huge pleasure about character's evolution. It is a fantastic spectacle to boys and girls. The first characteristic point of characters' evolution is growing-up body to an adult. For example, magical girls genre shows a woman's sexy body. This scene gives a sexual fantasy to young girl spectators, a voyeuristic visual pleasure to young boy spectators. The second point is that a transforming-body gains some super power or magical power. The third point is that a great many characters is in one text. In , characters' numbers go on increasing through 6 ways-hybrid type, mutant-reiteration type, metamorphosis type, simple-grownup type, narrative type, multiple evolution type. The evolution of has to pay attention to only one transforming way. Most Digimon characters are becoming to a human-weapons cyborg. In my opinion, this is very dangerous phenomenon with a political ideology.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• The Southeast Asian review
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• v.21 no.1
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• pp.137-184
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• 2011

This article is aimed at understanding the political narratives represented in the National Museum of Indonesia. Starting initially as a colonial museum, the National Museum of Indonesia functioned as a useful tool for the Dutch colonial force to fuel its imaginations of the colonial territory and the people within it. The Dutch used the cultural display to advertize its benevolent colonial rule. All the while, the museum also inevitably reflected orientalism on the people and the culture of the colony. The republic of Indonesia inherited the colonial museum's practices and its display patterns. The business surrounding the museum also played a key role in the newly-born nation-state laying out a future for its redefined territory and people. Thus, what the colonial force imagined for the colonial territory through the study of museum displays was rather directly transferred to the republic without serious consideration of the decolonization process. Four main characteristics have been seen in the museum displays. The first is an emphasis on the glorious Hindu-Buddha history, from which numerous temples, statues, and jewelry have been found. Secondly, the Islamic period, which spanned between the Hindu-Buddha times to the colonial era, has almost completely been eliminated from the display. Third, the colonial era has been depicted as the time of Europe's exportation of scientific tools and adaption of sophisticated living patterns. Fourth, the images of ethnic groups were represented as being stagnant without reflecting any challenges and responses that these groups had faced throughout history. Looking at these display patterns, it can be concluded that all the dynamic internal developments and anti-colonial resistance that took place during the Islamic and Colonial Era have simply not been represented in the museum display. These display patterns do not reflect the real history or culture of the archipelago. Two considerations are thought to have influenced the neglecting of social realities in the display. The first of which is the Dutch's and Republic's apprehension over the possible political upheaval by the Islamic forces. Yet, more fundamentally, cultural displays themselves are distinct from historical education in that the former pays more attention to business ideas with an aim to attract tourists rather than to project objective historical knowledge. Thus, in cultural displays, objects which work to stimulate fantasies and spur curiosity on archipelagic culture tend to be selected and emphasized. In this process, historical objectivity is sometimes considered less vital. Cultural displays are set up to create more appealing narratives for viewers. Therefore, if a narrative loses its luster, it will be replaced by another flashy and newly-resurrected memory. This fact reveals that museums, as transmitters of historical knowledge, have a certain degree of limitation in playing their role.

• 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.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.123-133
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• 2019

Director Lee Chang-dong saying that the most important thing is to let the audience experience, find its meaning, interpret, and feel the pure sensation (whether it's image, sound or music) that the film has instead of narrative giving you the answers, through the film presenting the pure natural landscape as it is, but all the familiar things that can be taken as a riddle are conveyed in images, and all the elements that make up the film share its presence with each other and let us experience a mysterious weight of reality that cannot be defined through its strange symbolism and metaphors, and it reflects various human emotions, reflecting curiosity of reality, the words that are hardly spoken, meanings of life that we were not being aware of. Rather than having one definitive figure, through the character's personality expressing an imperfect character with a complex ambiguous behavior asks about the things that can't be explained logically and the fact of life that can't be divided into truth or lie. Also, the acting approaches emotionally and primitively rather than using artificial expressions, showing the invisible elements of emotions that are latent inside humans through temperate acting style, leads the audience to distant themselves and reflect more deeply into life. This study analyzed the characters and acting of the film based on director Lee Chang-dong's directing style.

• 한국노년학
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• v.29 no.3
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• pp.1001-1024
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• 2009

This study investigates what older adults have image of older adult with relation to their self-identity. Fourteen participants are interviewed in this study. The main findings are as follows. Their response to image of older adult is divided in the form of 'denial' and 'accommodation' about social images of older adults. 'Denial' has 'total denial' and 'selective denial' while 'accommodation' includes 'acceptive accommodation', 'selective accommodation' and 'unwilling accommodation'. 'Total denial' indicates that the participants describe older adults very negatively, and they regard themselves as a person who is totally different from the older person they describe. 'Selective denial' represents that the participants have two types of older adults: negative and positive. They describe that they are close to the positive type of older adults themselves although they do not admit that they are older adults. 'Acceptive accommodating' does not describe older adults negatively, and they identify themselves as older adults. 'Selective accommodating' are very similar to 'selective denial' although the former differs from the latter in that they accept that they are older adults. 'Selective accommodating' also includes negative and positive types of older adults, and this type of participants admit that they are older adults, and believe that they belong to the positive type. In contrast to 'acceptive accommodating', 'unwilling accommodating' describes older adults very negatively. However, the participants belonging to 'unwilling accommodating' comes to accept that they are older adults due to irresistible realities.