• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.150-161
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• 2017

The short animation directed by Sang-Ho Yeon has led the sympathy and reflection of audiences through reveling the violence of the military in the form of the social criticism film. The explores the social value of animation by the content of social criticism, not for entertainment uses but for public interest. This research addresses how the function of social criticism implements in animation film, especially, its narratives and direction. In the light of this, firstly, literature will review the general characteristics of social criticism films, Secondly, based on literature reviews, analysis tools will be drew, thirdly, the case study regarding will be processed by focusing on The function of social criticism, the technique of direction and expression of animation. As a result of this research, shows unique traits because of the hierarchical and exclusive characteristics of military culture, which differs from general characteristics of social criticism films dealing with historic and social issues. In addition to this, the function of social criticism is effectively implemented in animation film, by the creative narratives and technique of direction by a director, Sang-Ho Yeon.

• Iberoamérica
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• v.13 no.2
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• pp.71-99
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• 2011

Tomas Gutiérrez Alea, internationally famous cuban director, made the film Up to a certain point with a purpose of criticizing the existence of the extreme male chauvinism as 'machismo' in cuban society of 80's despite of many changes of cultural and social paradigms through 60's and 70's. The director gathered the themes and topics of the films like Lucia, One way or another, and Teresa's portrait and analyzed them to present alternatives. The way of approaching to solve that kind of social problems that Alea proposed to the spectator is taking time to think of the problems with a way of "The Viewer's Dialectic". Identification with the protagonist of the film(thesis) and alienation from him(antithesis) could make the audience generalize the diverse aspects of the problem and then one might get an insight(synthesis) to live the life with more satisfaction that is supposed to be a social function of the film as arts according to the director of the film Up to a certain point.

• International Journal of Contents
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• v.9 no.3
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• pp.55-61
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• 2013

The Korean films in the 1980s played an important role in impeding the interaction between the media and the audience. In terms of two mechanisms of money and power, the Korean films lost the function of publicity and were forced to disregard positive aspects of culture as a way of understanding society. As a mass medium, the film did not give people the space for critical thought and discussion on social reality. This study tries to discuss how Korean movies in the 1980s functioned as a bulwark of critical debate provided by the interaction between cultural texts and audiences through the notion of the public sphere. For Habermas, the public sphere provides a basis for critical analysis in order to reveal the relationship between media and economic and administrative power in a modern society.

• Cartoon and Animation Studies
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• s.35
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• pp.181-208
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• 2014

Kon Satoshi is a representative animation film director who explores human's intrinsic self-identity based on ambivalence and delivers a message for self-reflection of entity. The aim of this study is to analyze the persona of character according to the way how a self incorporates with another self in his film; that is to say, how a mask of the personality expresses and realizes itself from the perspectives of the Jung's analytical psychology. The persona, defined as the upmost external personality, involves social behavior playing a specific role to establish constant relationship with others in a society. With increasing demand in a society, individuals get to adapt to outer environment by playing his/her given role in various masks of personality. In this way, although persona acts as a major function in relationship with outer world, it would exert a negative influence on formation of self-identity because of the inconsistency between consciousness and unconsciousness when immersed only in mask of personality, complying excessively with the demand of group. However, persona does not always have a negative effect on relationships. Developed adequately to fulfill its social function, persona is helpful to establish a healthy self-identity with balanced control between inner world of unconsciousness and outer world of consciousness. From these perspectives, this study can identify how the desire of mask hidden inside of each character expresses to function in a positive or negative way by analyzing characters in the film according to integrated pattern and correlation between consciousness and unconsciousness. Additionally, I hope that the psychological research methods in this study will be full of help for interpreting on a character analysis as a theoretical approach.

• Cross-Cultural Studies
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• v.23
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• pp.101-126
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• 2011

The principal purpose of this study is to analyse and critique how precisely the representation of women in the film Retrato de Teresa reconstructs the socio-cultural image of the female in the late seventies of Cuban society. The film of Pastor Vega is obviously an outstanding challenge on the new subject of 'women's liberation' against machismo in the context of the Cuban society. Teresa, the female character, as a socio-cultural image of the Cuban society don't focuses on the declarative and iconic images of the women's role as a revolutionary heroin that had appeared frequently in the films of the sixties, but she struggles for getting more realistic and pragmatic values such as women's emancipation to take rights in daily life. Therefore, the declaration of the emancipation of Teresa against machismo of her husband $Ram{\acute{o}}n$ has the special and symbolic meanings of social role and function of the film in the process of Cuban cultural revolution. The film concentrates on inducing the audience to make new perspectives such as women and gender issues in the daily experience of Cuban society where the machista ideologies and practices characteristic of a patriarchal society. Conclusively the female image of this film does not represent a national heroin, but reflects the women's desire, hope, and dreams in the society. Teresa makes the audience think of representations of the true meanings of the revolution in daily life, the machista ideologies in the patriarchal society, and the women's role and fuction in the Cuban society.

• Journal of Communication Design
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• v.59
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• pp.114-127
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• 2017

At present, the research of the method of 'Blank-Leaving' can be easily found in works of arts and architecture, while it can be hardly discovered in the academic research of film and television. However, as a means of expression, 'Blank-Leaving' gives a unique artistic charm to film and television works, and its development has a positive aesthetic effect to film arts. In order to go into details of the thought of 'Blank-Leaving' in movies, this paper firstly discusses the definition of 'Blank-Leaving', the history and social origin of 'Blank-Leaving' as well as its relationship with Taoism and its application in traditional Chinese painting. Secondly, this article analyzes its function and artistic expression in the film and television and the ideas sublimation it brings to people by means of combining the thought of 'Blank-Leaving' in Taoism. Finally, this work put forward the method of innovation and perfection of 'Blank-Leaving' in film and television works. This paper shows that, as a means of expression, 'Blank-Leaving' has not only realized the value of beauty, but also strengthened the public awareness of film arts.

• Journal of Information Technology Applications and Management
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• v.28 no.3
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• Science of Emotion and Sensibility
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• v.16 no.4
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• pp.457-468
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• 2013

Common theories of affect underscore valence and arousal dimensions or specific emotion. However, given the role of affect in transacting social behavior, sociality may determine the subjective experience and interpersonal response to positive stimuli. The current study examined the relationships between social positive affect and perspective taking as well as positive coping. One potential moderating effect of agreeableness on these relations was also examined. In two experiments, film segments induced socially and non-socially generated positive affects. We hypothesized and found that positive affect associated with sociality would enhance perspective taking ability and positive coping, while non-social positive affect would not. Moreover, these effects varied as a function of the level of agreeableness. These findings suggest that the social/non-social dimension influenced which positive affects elicited perspective taking and positive coping, which could not be explained by differences in subjective emotional valence or arousal. Taken together, these findings have important implications, as they point toward a previously overlooked relation linking sociality to positive affect.

• The Research Journal of the Costume Culture
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• v.9 no.2
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• pp.259-276
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• 2001

Hitchcock, "a master of the thriller" "leading figure of thriller", was famous for his work style. He never starts filming until completing a perfect conception in his mind before shooting. He started filming after getting a perfect filming plan adding a picture even one detailed shot picture. Also the movie costumes was not an exception in his movie. He put more main object to express a symbolic meanings by recreating movie costumes which were fit to drama′s subject than function which spoke for contemporary popularity also he guides actors to put on the movie costumes examined previously to shape a definite visual character in that works. This research intends not only to look into symbolic and expressive means of dresses through the movie costumes on thriller appeared in Hitchcock′s movie, but also the comprehension width by grasping importance of the movie-costume and dress image in the movie. Hitchock made about 55 movies, mostly thriller movies, from Number 13(1922) n unfinished work to family plot(1976) ones posthumous work. This research examined his the second half of term works(after 1950) such s Rear Window(1954), Vertigo(1958), Psycho(1960), Torn Curtain(19660, Topaz(1969) and Frenzy(1972) which are generally familiar to the public. In conclusion, we can find that the thriller movie costumes as well s the other movie and appeared a character of the film′s characters, social rank, economic level, personality. But expecially, a costume of Hitchcock′s thriller movie can be contained a characteristic factor of a kind of five.

• Journal of Popular Narrative
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• v.26 no.3
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• pp.221-254
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• 2020

This paper finds a solution in the social context which cannot be explained thoroughly by well-timed release date, revival of comedy films, and the attraction of Lee Byeong-heon's comedy etc. while it throws question of how the film, Extreme Job captivated 16 million audience. The incredible hits of Extreme Job cannot be explained by analyzing the text alone. After this essay investigates a function and a role of comedy as a public sphere, it examines people's desires and wishes in the comedy and other genres since 2008 when the conservative government has seized power. Since 2008 a series of dark tone's action thriller, social problem film, and disaster film have emerged, these genres showed absence of public security, crisis of democracy and criticism against rulling class. On the other hand, hit comedy films have showed escapism such as weepie, nostalgia, and fantasy at the same time, generally. Although Veteran (2015) is not full-blown comedy, after this film's big success, "comic mode" has gradually revived. A light tone's films which are truer to genre rules has started representing the wishes of people toward social reforms and changes. Meanwhile, "Candlelight Protest" served as a momentum to recover the democracy which has been in crisis, but it could not lead changes in economic and daily lives. Exreme Job can be read as a question how we will survive since "Candlight Protest." The lives of detectives as self-employed workers who has taken over a fried chicken restaurant for going undercover are appearances of ordinary persons who must survive in the edless conpetition. Furthermore, this film shows a dream of a "great success myth" which becomes well-known as a famous restaurant and a self-management such as brand-naming and an exapansion of franchise business. We can read ganster's chicken franchises as a huge distribution industry which disturbs market system by delivering drugs secretly. While applauses that we give to the police having identities of self-employed workers which sweeps the ganster are giving support to oridinary neighborhood like us, they are also wishes of people who long for the restoration of publicness of police in the market which is becoming increasingly privatized today. A significance of this essay is to examine Extreme Job in terms of the geography of film genres and the revival of comic mode sicne 2008 at the macro level, and is to read the film in the perspective of the problems of economic and daily lives which has been still unsolved since "Candlelight Protest" at the micro level.