• Cartoon and Animation Studies
• /
• s.17
• /
• pp.37-51
• /
• 2009

Immersion is the key factor in determining success or failure for fictional narrative animations. It does matter to not only for the socio-economic achievements like box-office success but to the asthetical achievement, immersion is very important prerequisite character that are raised in terms of research needs. Fictional narrative animation shares the audience's immersive method with the narrative content and Virtual Reality, since animation has the character which narrates itself with the visual image format (including sound) and added the fact that 3D format which emphasizes realism compared with the recent 2D animation has been ubiquitous phenomenon. In other words, the artistic for called 'animation' is located between the view point that text has the immersive point intrinsic and oppositely, specific function of the certain media which stays extrinsic of the text enforce the participants into the immersion. In any case, the subject who experience immersion is the audience, so the most useful theory to research the phenomenon 'immersion' is Constructivism cognitive narrotologic approach which lies the peader-spectator as the centric notion and is more useful than text analysis or research on the visual effects. In this study, research and review about the studies on the audience's immersive experience would be preceded particularly aroud the constructivism theories, and examine the uniqueness and naures of the animation which makes the audience immersive.

• The Journal of the Korea Contents Association
• /
• v.20 no.2
• /
• pp.141-149
• /
• 2020

In this paper, I studied the relation between narrative construction (especially focusing on motif) and humor mechanism based on binge watching environment. Several motif theories such as B. Tomachevski, Horst and Ingrid Dämmrich and S. Chatman are used as a basic study method in chapter II. In popular sitcom , sometimes kernels(according to S. Chatman's term) in certain season's story are changed into satellites(according to S. Chatman's term) in other season's stories. The motif of Ross and Rachel's conflict is a representative example for this switching process. Especially on binge watching environment, as the interval length is much more shortened, viewers tend to reflect their own emotional memory into characters less strongly than segment watching environment. As a result, the possibility 'heavy' stories such as seperation are quickly changed into 'light' humorous matters is increased. This kind of hierarchy variation of repeated motif make the viewers laugh, because they can feel sudden liberating energy by eliminating psychological pressure. It means the characteristics of sitcom's humor on binge watching environment can also be explained by the theory of 'laugh as a eliminating tension', which I. Kant representatively said.

• International Journal of Contents
• /
• v.4 no.4
• /
• pp.24-29
• /
• 2008

In 1920s, Soviet silent films enjoyed unprecedentedly great prosperity throughout world film history. Particularly, Dziga Vertov could develop 'montage' in collaboration with Sergei Eisenstein and thereby could work as the engines behind development and leap of Soviet films toward 'new concepts' of 'new films' worldwide. However, Vertov's original reputations - the best film theorist and avant-gardist as well as great cineaste in his contemporary age - have been misunderstood or underestimated, so that he has been still misestimated or distorted as radical formalist and documentary propagandist. In regard to these points, this study aims to take Gilles Deleuze's modal esthetic approaches to further considering and historically re-highlighting D. Vertov's film theories that are based on the principle of 'film-reality' and the concept of 'Life As It Is' according to 'kino-eye' method and 'interval' theory as a part of futurism and constructivism breaking down any attribute of traditional narrative films.

• The Journal of Art Theory & Practice
• /
• no.16
• /
• pp.41-69
• /
• 2013

The inauguration of the collective Reality and Utterance (Hy$\breve{o}$nsil kwa Par$\breve{o}$n) in 1979 and 1980 marked a watershed moment in Korean art. This is not only because the collective gave birth to the politically-engaged art movement that would come to be labeled "Minjung Art" by the middle of the 80s, but also because it enthusiastically embraced a wide range of images from the urban culture. With a special focus on the members' early work, my research explores an issue largely neglected in the dominant narrative of Minjung art as a form of activism against the authoritarian Korean government during the 80s. The issue is what was at stake in Reality and Utterance's exploration of contemporary urban visual culture. The aim of this essay is to recognize the engagement with the urban visual culture as central to the group's early project and to consider it at some distance from the anti-urban and anti-mass culture perspective which was endorsed by the Minjung narrative. Focusing on members' turn to urban visual culture, this essay instead argues that this turn was by no means merely a means to making art as social critique, but more importantly, it was an experiment with the shared image world, as opposed to the rarefied visual vocabularies of abstract modernism. Visual productions such as advertisements, billboards, posters, and kitsch paintings, which come from outside the narrow confines of fine art, were definitely ominous signs of the colonization of everyday life in the capitalist city, but at the same time they were anticipated to be a catalyst for redefining Korean art in a more communicative, accessible, and democratized way. In this regard, in the early 1980s-in particular 1980 and 1982-the members' gesture oscillated between critique and embrace, which allowed the group to occupy a unique domain in the realm of Korean art production.

• The Journal of Asian Finance, Economics and Business
• /
• v.7 no.11
• /
• pp.679-687
• /
• 2020

The aim of this paper is to review studies of women chief executive officers (CEOs) and chief financial officers (CFOs) in the context of financial reporting quality. By using electronic searches and keywords to identify relevant studies, a total of 22 published studies are identified over the period 2010-2020. Based on the review, two underpinning theories have been widely used in examining the effect of women CEOs/CFOs on the quality of financial reporting, namely, risk aversion theory and gender-ethics theory. In addition, a majority of the studies documented that women CEOs/CFOs lead to more conservative reporting and higher earnings quality. The findings underscore the importance to examine the gender issue in accounting literature and established a business and management case for women to attain the top position whether as a CEO or CFO. This paper also recommends to practitioners and regulators about the effect of having women as CEOs or CFOs on financial reporting quality as women are a pool of talent that is underutilized. In addition, this paper goes beyond a classic narrative review by suggesting future research avenues to examine further such issues in order to broaden the understanding of the role of women in accounting.

• Journal of Digital Contents Society
• /
• v.9 no.3
• /
• pp.413-422
• /
• 2008

On Expressional Feature of by Art Spigelman who won the Pulitzer Prize in 1992, first in the works background of Spigelman, $60{\sim}70's$ the author sends an adolescence the ideological background of the work investigated a periodic situation and the environment where becomes the creation background of <> and researched. Second, in narrative special quality it was researched about fablelic narration, narration of documentary, doublespeak, frame formula configuration. Third, in formal quality, <> being based on Scott McClould's cartoon theories analyzed with structure. Last, <> was investigated in form.structural completion degrees with Spigelman peculiar expressive techniques, photos, informality illustrations, maps that were expressed the realism strongly were analyzed.

• The Journal of Art Theory & Practice
• /
• no.10
• /
• pp.183-202
• /
• 2010

The term "philosophizing art" was coined by Arthur Danto, who tried to define new forms of art, especially Andy Warhol's pop art appeared in New York after 1960's, which could not be explained by traditional concept of "representation". As Danto said "the term 'philosophizing art' is unclear, whether art discusses philosophical issues or art is the object of philosophic discussions", it does not seem like Danto himself had a specific idea when he used this term. The background for Danto coining this term derives from the fact that the old art concept such as denotation and connotation could not fully explain phenomenalistic aspects of concept art which appeared frequently at that time. Many articles in his book "philosophizing art", in which many of his criticism are included, mainly say that art begins philosophizing by dealing with not mimesis or representation but concepts. According to his argument, the history of western art, which has been consisted of mimesis and representation, has come to end when art is about physically embodied with meaning. Of course, as Danto say so, what goes to end is not art itself, but the narrative of art. It means master narrative saying art should be shown different from nature or artificial daily product is over. Danto could not find principals of mimesis and representation which had been main logic in the western art history, when he saw Andy Warhol's Brillo Boxes at Stable Gallery, New York in 1964. Danto questioned "if we can not distinguish Brillo box's artistic aspects visually from other factory-made products, how can we distinguish art from non-art", By answering those questions, he discovered two facts which made him realize the end of Art: One is there is no special way in which works of art have to be shown or has to exist. Therefore, art history has proven that commercial boxes, trashes and files of underwear can be a work of art. The other is we have fully recognized it at the end of 20thcentury. Danto confessed that through Brillo Boxes, he realized the works of art are decided by something can not be seen by eyes, not by distinguished differences by looking at it. This thesis is trying to show personal understanding about art, philosophy and discourses surrounding them and to figure out how Dante opened a new world to art criticism by using new definitions such as 'end of art' and 'philosophizing art' which Danto used to explain inner aspects of art.

• Journal of Digital Convergence
• /
• v.17 no.6
• /
• pp.373-380
• /
• 2019

In this study, I examined the visual elements for narrative structure and the symbols, scene components and visual styles in the images through analyze the flat staging in Tomm Moore's animated feature film, . As a research method, I figure out the general theories about staging and analyze extracted scenes which revealed flat staging in the , then summarize and clarify the flat staging production elements and features of Tomm Moore. As a result, in , the composition of the screen using the basic shapes, the screen composition containing the spiral which is symbol of the Celtic traditional pattern, the stable and flat frame expression through the balanced screen composition, expression of spatial sensation using perspective, appearance of the period by using the inverted perspective, and composition that can emphasize the flat formability are appeared as a characteristic. Through this, the two-dimensional planarity was maximized to convey the feeling of appreciating the illustrations of fairy tales. Tomm Moore, who produced animation based on folk tales in order to inherit the traditional culture of Ireland, has been attracting worldwide attention because of its flat staging to help narrative, enhancing the original expression and performance of animation. I hope that this study will be used as basic data for industry workers and researchers who make unique and excellent animated feature film.

• Korean Journal of Oriental Medicine
• /
• v.9 no.1
• /
• pp.35-50
• /
• 2003

In Korean traditional medicine, there are 4 major diagnoses. They are 'Mang (Watching)', 'Mun (Listening)', 'Mun (Asking)', and 'Jeul (Touching)'. These ways are closely related to each other. Among the four, 'Jeul' is the most famous one because it is the final way of checking the pulse for the cure. Pulse checking has been used as an essential way of diagnosis, but there are some difficulties in doing so in the business matter. To overcome these problems the theories should be studied profoundly and heterogeneously. More importantly, these endeavors must be pursued on the basis that pulse-checking must be. done along with other diagnostic ways to diagnose more precisely and practically. Therefore, I want to study and analyze the pragmatic ways to help the business field. Wang Suk-Hua(王叔和) arranged the methods and theories of 'pulse-checking' that was used before Nea-kyung. The book is called Maek-kyung. But this is too complicated to use in the field. As a result Maek-kyul(脈訣) which is made of songs that help to memorize and practice was gain more popularity than the ${\lceil}$Maekkyung(脈經)${\rfloor}$ itself. But the songs are so simple and compact that the offsprings annotated this book again and made books consist of these annotations. Among these books ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$(1349) which was written in Won(元) dynasty was imported to Cho-sun(Korea) and used as the most important book on pulse-checking. So I will study ${\lceil}$Maekkyul(脈訣)${\rfloor}$ which contains the essence of ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$. And I will also study ${\lceil}$Dojumaekkyul(圖註脈訣)${\rfloor}$ and ${\lceil}$Maekkyulyouhae(脈結乳解)${\rfloor}$ as conference. The former, written by Jang-sae-hyun(張世賢), contains narrative paintings and prescriptions according to pulses. And the latter, written by Wang Bang-bu(王邦傅), contains criticism of earlies annotations along with his own theory. ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$ was chosen as a text book of medical examination according to ${\lceil}$Kyungkukdaejun(經國大典)${\rfloor}$ and had been used during Cho-sun, dynasty after closely corrected by Heo Jun(許浚). It means, during Cho-sun Dynasty, everyone who wants to become doctor had studied pulse-checking through this book, and also means Cho-sun medicine emphasizes practicality. This book and the pulse-checking part of ${\lceil}$Dongeibogam(東醫寶鑑)${\rfloor}$, which published later, made the main frame of pulse-checking during Cho'sun Dynasty. As above, studing ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$ which was major textbook of pulse-checking in Cho-sun, helps to study pulse checking itself as an important way of diagnosis in Korean traditional medicine. And more than that it helps us to understand. the. practical development of pulse-checking dyring Cho-sun dynasty. With these reasons I studied ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$ conferring ${\lceil}$Dojumaekkyul(圖註脈訣)${\rfloor}$ and ${\lceil}$Maekkyulyouhae(脈結乳解)${\rfloor}$ to understand ${\lceil}$Maekyung(脈經)${\rfloor}$ which is practical book of pulse-checking. During so I got some achievements and I report it as. follows.

• Journal of English Language & Literature
• /
• v.54 no.2
• /
• pp.301-322
• /
• 2008

Pauline Hopkins's Of One Blood; Or, the Hidden Self was published in the Colored American Magazine during 1902-03. As a literary experimentalist and a political protester, Hopkins uses her fiction as a medium to overcome and ameliorate the violently racialized surroundings of the turn-of-the-century America. Having been faced with racist rhetorics and theories growing on biological differences between races, Hopkins must have felt an overwhelming urgency to challenge the heritage of slavery in American history. In order to speak out her political agenda in such a milieu, she needed a new setting as well as new narrative materials for the new era. She had to move the setting from America to Africa, the ancient utopian Ethiopia; her interest in the ancient African civilization reflects both a popular African-American vision of Africa and the movement of "black nationalism" of the time. She also needed materials from nineteenthcentury sciences, the newly evolving theories of psychology and mysticism (spiritualism/mesmerism), to explore the meaning of "the hidden self" which unfolds the complex nature of Hopkin's position on race, "blood," and African-American racial subjectivity. Hopkins in the novel explores not the color line but the bloodline. Tracing the horrific legacy of incest in the history of slavery, she attempts to redefine the true racial identity of African-Americans in America and to reconstruct their past, both family and race history. At the very center of her major tropes in the novel-such as "of one blood," "the hidden self," and incest-exists female body. Black female body, though it represents the violent site of sexual body (rape and incest) in slavery, ultimately becomes a vehicle to convey and preserve the truth of racial memory/past/history for African-Americans. As a conveyor of the past, black women not just connect the past and the present but also reawaken AfricanAmericans with the legacy of the African 'pure' bloodline. Hopkins's vision here necessitates the reevaluation of black women's role in family and history, heralding the 20th-century black feminine writing. With the major tropes, Hopkins clearly suggests that the blood of (African-)Americans is unrecognizably intermixed. Although the novel ends with ambivalence and without resolution on what Africa signifies, those tropes certainly offer her a vehicle for criticizing as well as for challenging the racial reality of America.