• Journal of the Institute of Electronics Engineers of Korea CI
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• v.44 no.6
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• pp.36-42
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• 2007

According to the increased demand of high quality multimedia content, it needs to recover an old movies. But the film of old movie is damaged with line scratches and dust. In this paper, the detection and restoration algorithm of B/W line scratch is proposed. Our scheme estimates and interpolates the damaged partial information of line scratch using the linear recursive curve trace which consider the intensity values of left and right region of line scratch and then median filtering processed. As a result, the film image PSNR 44.68 with B/W line scratch is increased up to 48.60 and the intensity of the interpolate pixel is approached about 14 against the pixel of original image.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.48 no.5
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• pp.1-9
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• 2011

This paper presents a novel scratch detection and removal approach for old film images in wavelet-domain. Various scratch detection and removal algorithms have been proposed for past decades. However, accurate scratch detection and removal with a moderate amount of computing effort is still a problem because of trade off between the quality of the film and computational load. For overcoming this problem, we first decompose an input image using a 3-level wavelet transform, and then remove the scratch by shrinking wavelet coefficients using linear interpolation. Experimental results show that the proposed algorithm can efficiently detect and remove the scratch in damaged films, and also be incorporated into old film restoration systems.

• 지역과문화
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• v.7 no.4
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• pp.69-81
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• 2020

As internet companies advance into the film industry, China's IP movies have grown rapidly and brought huge business benefits to the movie market. This paper tried to diagnose the phenomenon of the Chinese IP film craze and derive its meaning and implications. To this end, we selected representative cases to examine the problems and the corresponding improvement measures. Among the three genres of novels, cartoons, and music that are currently drawing the most attention in IP film adaptation, the examples were "Wu Kong", "Take My Brother Away", "My Old Classmate". The research results show that there are problems such as the unification of Chinese IP films, the lack of screenplay ability, and the copyright. Some improvement measures such as establishing IP copyright trading platform, strengthening IP creation, and promoting the value chain of IP industry are put to solve these problems. We hope that China's IP film market create a value chain on the basis of this paper.

• Journal of KIISE:Computing Practices and Letters
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• v.16 no.1
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• pp.120-124
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• 2010

This paper presents a method that can automatically detect variety of degradations (i.e., scratches and blotches) in old film archive. The proposed method consists of candidate detection and verification. Degradations are first identified by finding the local extreme of a frame in spatiotemporal domains, thereby using edge detector and SROD detector. Then, to remove some false alarms occurred in the first stages, the verification is performed using the texture and shape properties of scratches and blotches. The textural properties of scratches and blotches are learned using neural networks (NNs) and their shapes are represented using morphological filters. The experiments were performed on several old films, then the results demonstrated the effectiveness of the proposed method, where it has a precision of 81% and a recall of 79%.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.547-551
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• 2009

In recent years, a film restoration has gained increasing attention by many researchers, to emergence of variety multimedia and to importance of video preservation. Blotch is the most frequent degradation in old film. This paper presents a blotch detection method using color and shape feature. The proposed method is two major modules: a SROD detector using impulsive feature and NN-based detector using shape feature. To assess the validity of the proposed method, the experiments have been performed on several old films.

• 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.

• Journal of the Institute of Electronics Engineers of Korea CI
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• v.43 no.6 s.312
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• pp.26-33
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• 2006

Film restoration is to detect the location and extent of defected regions from a given movie film, and if present, to reconstruct the lost information of each region. It has gained increasing attention by many researchers, to support multimedia service of high quality. In general, an old film is degraded by dust, scratch, flick, and so on. Among these, the most frequent degradation is the scratch. So far techniques for the scratch restoration have been developed, but they have limited applicability when dealing with all kinds of scratches. To fully support the automatic scratch restoration, the system should be developed that can detect all kinds of scratches from a given frame of old films. This paper presents a neurual network (NN)-based texture classifier that automatically detect all kinds of scratches from frames in old films. To facilitate the detection of various scratch sizes, we use a pyramid of images generated from original frames by having the resolution at three levels. The image at each level is scanned by the NN-based classifier, which divides the input image into scratch regions and non-scratch regions. Then, to reduce the computational cost, the NN-based classifier is only applied to the edge pixels. To assess the validity of the proposed method, the experiments have been performed on old films and animations with all kinds of scratches, then the results show the effectiveness of the proposed method.

• International Journal of Advanced Culture Technology
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• v.10 no.1
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• pp.10-16
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• 2022

This paper focuses on the aesthetic ideology and aesthetic style embodied in the work of 'Blue is the Warmest Color' to dissect it and examine the identity and construction of identity as a minority group in a postmodern context. Blue is the Warmest Color is a film that focuses on homosexual emotions in adolescent development, showing the budding love and emotional orientation of a 15-year-old girl's adolescence, and the ecstsy and torment that comes with an awakened consciousness. The evolutionary process of the characters' emotional orientations is dissected, pointing out that the central theme of the film is the concern for fluid identity and self-identity. Through the narrative and the setting of the characters' emotional patterns and the "Body Writing" of women, this paper further examine the typical variability and fragmentation of postmodern identity, and interpret in detail the content, messages and effects of the characters' dialogues in the film to illustrate the way in which the work expresses class and identity differences. The research method is based on textual analysis and theoretical research.

• The Journal of the Korea Contents Association
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• v.22 no.7
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• pp.635-651
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• 2022

This study focuses on the characters and spacial expressions from the film , one of the representative works of the Coen brothers. The esoteric narrative of the film could be analyzed by understanding the symbolic expressions present throughout the film. The unrealistic characters, spaces, and props that appear along with the main character contain a symbolic meaning and adhere to the artist's worldview. These expressions contribute to creating a unique world for the Coen brothers and significantly impacted later films. Coen brothers' other films and , similarly display the unrecognizable world that coexists with the real world and the powerful presence that dominates it within the world. This study examines the use of symbolic characters and spacial expressions shown in the representative works of the Coen brothers.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.