• (The) Research of the performance art and culture
• /
• no.32
• /
• pp.333-370
• /
• 2016

This study examines self-reflexive scenes of Changgeuk [창극; Korean classical opera] Seopyenje [서편제]. This show deals with Pansori [판소리; a kind of Korean folk play] and its singers. The uniqueness of this show is that although it is a new creative work of Changgeuk, the traditional Pansori music is used intactly. These characteristics are related to some self-reflexive scenes in the show: the narcissistic reference of Pansori makes to seem that this show inherits a artistry of Pansori; a play within a play and a role-play reinforce a reality on the action and characters of outer play; an intertextuality, bringing the narrative and music of Pansori Simcheong-ga [심청가] in this show, it makes audiences spontaneously discover a connection between the cited original text and the hypertext. Namely, the self-reflexivity of Changgeuk Seopyenje doesn't destroy an illusion, but rather it presents a kind of conservative self-reflexivity which uncovers a part of tricks for the illusion in order to create new illusion.

• Cartoon and Animation Studies
• /
• s.34
• /
• pp.81-104
• /
• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

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

• The Journal of the Korea Contents Association
• /
• v.21 no.7
• /
• pp.105-118
• /
• 2021

The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.

• The Journal of the Korea Contents Association
• /
• v.16 no.3
• /
• pp.162-170
• /
• 2016

Xavier Dolan delves into maternal instinct and sexual identity and the attempt and experiment of his movies are not difficult to understand and not unfamiliar. He communicates with audience through pastiche and self-reflexivity, rather than disassembling and destruction of style and form of existing films. Pastiche is the intertextuality between familiar genres such as film, poem, fashion, music, painting, etc. His films shows the characteristics of postmodernism, which include genre over, de-subjectivity, interest in public culture, and representation of nostalgia. This study recognizes anew the present of postmodernism gradually going out of fashion and analyzes the characteristics of postmodernism and repeated motif in his movies. This study also analyzes Xavier Dolan's interest in social minority and allegorian characteristics through characters appearing in his movies.

• The Journal of the Korea Contents Association
• /
• v.14 no.9
• /
• pp.85-92
• /
• 2014

This study analyzes what kind of representation strategies make popularity in Silence. As audiences come together in cyber public sphere, 'participatory spectatorship' is made. Its sources are classical narrative mode and collective memories which are the devices to goad audience to anger. Silence reveals self-reflexivity because fact-based film has effect on allowing the audience to be aware of the reality constantly. However, the devices which maximize audience's anger aroused ethical controversy. Silence's unethical expression is the strategy for representing the popularity and the methodology for social ethics.

• Archives of design research
• /
• v.18 no.4 s.62
• /
• pp.147-154
• /
• 2005

In this paper, I am going to analyze a correlation of Jacques Lacan's Mirror Stage and the process of remediation on image media. It is because the remediation process of various digital media is letting people pass through one time of mirror stage again. Remediation for the Internet of traditional media, conflict with the virtual world and real world, identification that a virtual image changes a practical image is for it to be caused a remediation process by mutual link of various image media. The Narcissism which occurs in the relation a self with a idealized self searches a new own expression and forms a skillful mania culture. Reflexivity of active mania culture same as a Jacques Lacan's Mirror Stage is to be the possibility becoming the feature of media culture of today. However, if digital media culture generation spends extremely wasting time from the image media, these image media generations cannot grow into new future-type man. According to this, it is necessory to have a study on Visual Literacy that it is related to a Jacques Lacan's Mirror Stage.

• The Journal of the Convergence on Culture Technology
• /
• v.4 no.2
• /
• pp.123-130
• /
• 2018

Storytelling is a compound of two words, 'story' and 'telling'. While the static aspect of 'story' has been emphasized, the dynamic and specific aspect of telling has been ignored. So, in the argument of 'storytelling', it is necessary to break from talking about 'story' and discuss the matter in terms of 'telling' and 'interaction'. In order to accept this need, the term 'Traditional Storytelling' is coined to engage 'oral-storytelling situation' more actively. When 'storytelling' is expressed by a storyteller, it can be referred to 'traditional storytelling', called 'oral performance'. In fact, the storytelling, which has a long history, originated from oral storytelling such as 'oral narration'. It is natural that our current storytelling isn't the same storytelling of an oral period, but the traditional storytelling casts a few crucial viewpoints to us these days when 'telling' has a significant meaning. In the first place, it is 'reflexivity' that we should note in the form of traditional 'storytelling'. It is a kind of self-reference which means reflecting and looking back at oneself in the form of narration. Through this reflexivity, the storytelling is affected by the site of telling and an aspect of one-off thing very frequently. Another point we need to note is a frame. Through this frame, the traditional storytelling come to hold time and space of narration.

• Communications of the Korean Mathematical Society
• /
• v.17 no.1
• /
• pp.37-51
• /
• 2002

Let X be a reflexive Banach space with a uniformly Gateaux differentiable norm, C a nonempty bounded open subset of X, and T a continuous mapping from the closure of C into X which is locally pseudo-contractive mapping on C. We show that if the closed unit ball of X has the fixed point property for nonexpansive self-mappings and T satisfies the following condition: there exists z $\in$ C such that ∥z-T(z)∥<∥x-T(x)∥ for all x on the boundary of C, then the trajectory tlongrightarrowz$_{t}$$\in$C, t$\in$[0, 1) defined by the equation z$_{t}$ = tT(z$_{t}$)+(1-t)z is continuous and strongly converges to a fixed point of T as t longrightarrow 1￣.ow 1￣.

• Asia pacific journal of information systems
• /
• v.25 no.1
• /
• pp.103-118
• /
• 2015

Smart tourism is a social phenomenon arising from the convergence of information technology with the tourism experience. New ways of doing business, new patterns of experience and new problems concerning tourism destination image management and marketing are emerging due to the ubiquitous presence and influence of the internet and mobile devices. New conceptual tools are also available to enable researchers to further understand the social implications as well as the practical implementation of these new virtual and augmented smart tourism ecosystems. To this effect this paper introduces the constructivist paradigm and associated research methodologies as another toolbox for interpreting how smart tourism works as a form of soft power. The implications revealed by constructivism are that through smart tourism ecosystems, destination commodification and commoditization, experience and image formation are increasingly self-perpetuating, autonomous and organic social constructions. Researchers in information technology can use constructivist research to further explore these dynamic developments in smart tourism.