• Journal of the Korean Society of Costume
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• v.48
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• pp.133-150
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• 1999

In future what kind of costume do we wear\ulcorner We can guess it is in advance through movie. Movie is a comnipresent medium and a mode of expression that reflect a distintive feature of the times like fashion. In many case costume design which belongs to a special era is based on the historic costumes but ostume design for future movie depends on the creativity of costume designer and director. Therefore it is interesting to research how costume designer get his/her design concept for future ccostume in movie how he/hse express his/her design concept through his/her costume and can we convince the design comes true practically in future. In this study I analyze the costume design of masterpieces among SF Film: (Metropolis/1926) (2001: A Space Odyssey/1968) (Star Wars/1977) (Blade Runner/1982) (The 5th Element/1977) Because this study is analyzed not through the original article but just through movie it has some limitation in exact materials or color.

• Journal of the Korean Society of Costume
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• v.54 no.2
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• pp.66-78
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• 2004

A leather clothes which was a representative item of an existed resistant image created a new esthetics. Cyber Resistance, being mixed with the highlighted cyber image in these days. Especially. the image of such new leather clothes appears apparently in SF movies. The purpose of this study is to examine this new esthetics through the leather clothes of the movie. $\ulcorner$Matrix$\urcorner$. currently becoming the subject of a conversation and affecting to a popular culture and the fashion and to help to the design idea of a unique leather clothes. The result of analyzing of the character in the movie is following. Trinity shows herself as a woman warrior by wearing tight black leather suit. Morpheus is described as a vague character with his old fashioned suit and leather trench coat. while Niobe carries an image of rebellious cyber warrior in her leather suit with unique texture. In addition. leather clothes on $\ulcorner$Matrix$\urcorner$ got the name of Matrix look and became a main theme in fashion collection. We can feel 'Cyber Resistance' esthetics in that leather clothes through the movie and fashion collection and summarize into three following features, First. it's grafted into the dichotomous value by progress and return as a retro futurism. Second. it moderately express a rebellious image of punk into a cyber image. Third. it makes cyber warrior's image that is neutralized mixing military and fetish properly.

• Korean Institute of Interior Design Journal
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• no.33
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• pp.122-128
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• 2002

In the Sci-Fi movie, with future scene in its setting, how images are shown in the film is very important. Sci-Fi movie is supposed to be expressed In different way of its set design. This study suggests various types of expression in Sci-Fi movies. Sci-Fi movies construct the narrative upon the binary opposition of nature vs. culture, human vs. nonhuman. Sci-Fi movie is a contested terrain where conservative, liberal and radical ideologies are competing. While liberal Sci-Fi movies consider the opposition compatible, conservative texts show the paranoid towards science and nonhumans. And, Sci-Fi movies are expressed as utopian and dystopian. Utopian and dystopian elements are found in the history of architecture. Utopian element is often found in the religious architecture, and those buildings are geometric, orderly, and gorgeous. Dystopian element is often found in modern architecture, and those are asymmetric, distorted, and incompleted. Conservative movie, which developing of science is expressed negatively, retains both utopian and dystopian elements evenly. Liberal movie, such as Space Opera which science is expressed positively, is changed from futurist and mechanical type into more simple, geometric and orderly shrine type. Radical movie, which the boundary of human and science is expressed darkly, retains dark, complex, and incomplete dystopian expression elements.

• Journal of the Korean earth science society
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• v.25 no.8
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• pp.748-753
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• 2004

The purpose of study is to develop the web-contents for web based instruction (WBI) with the Science Fiction Movie (SF) and investigate the effects of application to the science learning. The results are as follows. 1) Science fiction movies for the earth science classes of middle school were selected, that is the Armageddon, the Apollo13 and the Total Recall. They are related to the chapters, the Earth and the Stars in the 8th grade science textbook. 2) The developed WBI materials were applied to the science classes of the 2nd grade in middle school through the Internet Line. and then the changes of attitude on science and recognition on using the science fiction movies to the class were analyzed. The results show that the science fiction movies have so much related to the contents of science learning and the developed WBI materials are effective to the science classes(p<0.05), but no meaningful (p>0.05) to the attitude on the science excluding the students' interest to science learning.

• Design Convergence Study
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• v.14 no.4
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• pp.1-16
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• 2015

This study aims to understand distribution of the sentimental words on each genre and find relationship between box office performance and sentimental words in movie review using 673 movies that have more than 1,000 reviews. For the analysis, crawling movie reviews and made data was composed movie genre, movie name, sales, attendance, screen, normal attendance, 7 sentimental words. For analysis results, we used correlation analysis and Parallel coordinates. As a results, First, the highest box office value of the genre is comedy and the lowest box office value of the genre is horror through analyze box office on each genre. Secondly, Movie genre of fantasy feel a lot of boring emotion and Movie genre of SF feel a lot of anger emotion even if 'Happy' and 'Surprise' have highest sentiment value on every genre. Third, We found 'Anger' increase sentimental value when 'Disgust' increase sentimental value and 'Surprise' decrease sentimental value when 'Happy' increase sentimental value through analyze correlation relationship between sentimental words using total data. Fourth, We found 'Happy' have linear relationship between box office and 'Fear' have non-linear relationship between box office through analyze sentimental words according to box office performance.

• Journal of Broadcast Engineering
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• v.20 no.6
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• pp.950-962
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• 2015

This paper analyzes the effect of the number of viewers and the number of running screens in the theater, genres of the movies and holdback period on the number of purchases movie VOD contents. In this paper, we deals with the 169 movies VOD consumption data which the digital cable TV subscribers purchased during the third quarter of 2013. As a result of the research, the average number of VOD purchases per each movie is 2,540. Regression analysis proves that the number of running screens and the holdback period are statistically playing a role of significance in movie VOD purchases. But the number of viewers in the theaters is not of significance. By genres, the result is shown as in this order: SF/fantasy 8,401 > dramas 4,011 > comedies 2,011 > action 1,789 > animation 1,138 > love story/melo 1,119 > horror/thriller 770 > erotic movies 636.

• Journal of Digital Convergence
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• v.13 no.7
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• pp.349-357
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• 2015

Giant character used various SF movies and games in media convergence ages, and is essential for giant character in success contents. It This study defined giant character of SF movies and games, it analysed the eight of external characteristics and internal characteristics of giant character in SF movies and games. The external characteristics defined shape, silhouette, size and color, the internal characteristics defined fear, satanism, image and story focus, playfulness. Above, it was structured positioning model of giant character based eight characteristics and analyzation of example of SF movies and games. The elements of positioning model of giant characters are darkness, huge, abnormal, human, animal, fear, satanism, story focused, image focused and playfulness, and this study was proposed these model of elements of eight in SF movies and games.

• Korean Institute of Interior Design Journal
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• v.24 no.1
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• pp.93-103
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• 2015

This study set out to figure out the tendencies of the staff members participating in the space design of Blade Runner and compare and analyze its set and location characteristics with its narrative based on Gilles Deleuze' Simulacrum, one of the basic theories of Post modernism, thus identifying the characteristics of postmodern space inherent in it. The findings were as follows: first, the spaces in a Late modernism tendency in Blade Runner seem to have been created by the cinematic imagination of Syd Mead and Douglas Trumbull rather than being influenced by the old Late modernism architecture. Second, the postmodern spaces of the movie were designed to depict a more realistic future by reinforcing the old ornamental elements or adding the mechanical aesthetics of Late modernism based on a prediction of future cities. Third, the characters representing Late modernism and Post modernism in the narrative of the movie embrace the tendencies of the parties objected by Model and Simulacrum in the scenes where they deny the tendencies of the spaces to which they belong, thus exhibiting a dual trend. Fourth, the dual narrative of Model and Simulacrum holds duality even in the space and architecture of the movie, which is the reason why the movie chose postmodern spaces reflecting historical contexts instead of inner spaces in the tendency of minimalism, which was in vogue when SF movies were made those days. Finally, the spaces of the movie can be categorized according to the Late modernism and Post modernism tendencies from the perspective of the 1980s and be understood to show the architecture and space of future Post modernism feasible through the layering of historicity, locality, and mechanical aesthetics from ancient Maya to a future city in Los Angeles, the background of the movie, from the perspective of 2019.

• Korean journal of communication and information
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• v.51
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• pp.47-64
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• 2010

Korea film market is heterogeneously divided market that comes from competition between Korean movies and foreign imported movies. This research empirically analyzes genre differentiation in Korean film market with three dimensions (film audience preference, production and import, box office hit). The results indicate that, first, audiences who preferring Korean movie preferred 'cultural factor oriented genres', but audiences who preferring foreign movie preferred 'high budget oriented genres'. Second, imported foreign movie genre distribution was little bit different with box office hit genre of foreign movies. Foreign movie was imported not only hit genre (action genre) but also low cost genre (comedy and Drama/melodrama genre), but most of all Korean film was produced in box office hit genres (comedy and Drama/melodrama genre), third, Korean movies hit a box office in comedy and Drama/melodrama genre, but foreign movies hit a box office in action and SF/Fantasy genre. Those results show that Korea movies' genres are concentrated very much in cultural factor oriented genre. Those results can give implication of diversity policy and movie production strategy of Korea film market.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.165-191
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• 2019

The purpose of this article is to elucidate why the motif of time travel is repeated in the science fiction narrative by examining the functions of this motif in the SF movie series of Star Trek in its narrative and non-narrative aspects. Star Trek IV: The Voyage Home (1986) aims to attract the audience's interest in the story through the use of plausible time travel in the form of the slingshot effect which causes the spacecraft to fly at very fast speeds around an astronomical object. The movie also touches upon the predestination paradox that arises from a change of history in which it describes a formula of transparent aluminum that did not exist at the time. The film also serves as an evocation of the ideology of ecology by including humpback whales in the central narrative and responding to the real issue of the whale protection movement of the times. Star Track VIII: First Contact (1996) intends to interest the audience in the narrative with the warp drive, a virtual device that enables travel at speeds faster than that of light and a signature visual of Star Trek, at the time of its birth through time travel. The film emphasizes the continuation of peaceful efforts by warning the destruction of humanity that nuclear war can bring. It tackles with the view of pacifism and idealism by stressing the importance of cooperation between countries in the real world by making the audience anticipate the creation of the United Federation of Planets through encounters with the extraterrestrial. Star Trek: The Beginning (2009) improves interest through the idea of time travel to the past, this time using a black hole and the parallel universe created thereby. The parallel universe functions as a reboot, allowing a new story to be created on an alternate timeline while maintaining the original storyline. In addition, this film repeats the themes pacifism and idealism shown in the 1996 film through the confrontation between Spock (and the Starfleet) and Nero, the destruction of the Vulcan and the Romulus, and the cooperation of humans and Vulcans. Eventually, time travel in three Star Trek films has the function of maximizing the audience's interest in the story and allowing it to develop freely as a narrative tool. It also functions as an ideal solution for commenting on current problems in the non-narrative aspect. The significance of this paper is to stress the possibility that the motif of time travel in SF narrative will evolve as it continues to repeat in different forms as mentioned above.