• Archives of design research
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• v.15 no.4
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• pp.47-56
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• 2002

The purpose of this study is to clarify how modern formative art reflects surrealism and propose a Art Make-up expressed based on the trend. The study also aims at demonstrating the part that the Make-up based on surrealism is also an artistic being keeping pace with the trend of art. For the purpose, the study reviewed related theoretical backgrounds and works as manufactured. Based on these theoretical backgrounds, the author anufactured works of his own, realizing the combination between theoretical and practical aspects. Those works were motivated from existing surrealistic paintings or otherwise made surrealistically through creation by the author for himself. The works included , (Work 2-MAGRITTE's Expression>, , , and . Results of the study, which were obtained through manufacturing the works, can be described as follows. First, senses of modern formation and line were emerged by applying the materials and images frequently shown in surrealistic paintings to human bodies. Second, characteristics of the Art Make-up for artistic image were revealed, not limited to colors, expressions, subjects, techniques and materials. Third, an unlimited, interesting expression of the Make-up using a variety of materials became possible by applying extremely subjective, surrealistic paintings and images in various ways. This paper proposed that the Make-up should be a artistic image itself, not as a secondary means for an obvious expression of personal beauty which has been maintained since the ancient times. The researcher tried to put the Art Make-up into our daily life by making creative works which viewed and psychologically enjoyed by people and by proposing the works as sort of image theme to the spectators.

• Science of Emotion and Sensibility
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• v.14 no.3
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• pp.347-360
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• 2011

To find out characteristics of TV home shopping's virtual space deepness styling, this study had analysis characteristics of space deepness which is showed on flat TV screen with actually aired 6 dinnerware sales case, at $C^*$ home shopping, March.2005~November.2010, and survey consumer's emotional verbal image according to space styling character to get space deepness, which were shown on flat TV screen with camera angle, and research mutual relation with consumer preference. Also consumer's typical emotional verbal images for each space styling images for brand dinner ware sales had been extracted with reliability analysis, factor analysis, and multi dimensional scaling MDS using SPSS. Styling characteristics of space deepness were contrast of size, layering, vertical arrangement, and perspective arrangement, and used camera angles were bird's eye view, hi angle, and eye level. Result from the research is, highly marked consumer preferred styling material had a deep corelation to material's main factor and perceived emotional verbal images. Therefore this research could bring forward to new consumer preferred styling characteristics according to camera angle. Furthermore, it will be possible to make a study of preferred styling material through evaluation of quantitative spectators of in this area.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.607-617
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• 2014

This article aims to explain some academic subjects based on the film, and accordingly investigate how they are to be converged and then educate individuals. The reasons why should be chosen as a text are as follows: this film is said to be fictional, but based on historical fact. Then, it attracts national attention. Third, it induces the spectators to judge the value of conscience, law, and morals, through the trial process, for themselves and leads them to raise the awareness of the historical, and political conditions at the time. Last, but not least, it contributes to the discourse on various type of men in contemporary days, by dint of analysis on the main characters. The results of the research are listed below: most of all, literature education(Korean language) could be proceeded with the help of epic analysis on . Secondly, considering the film develops the story using political allegory as discussion, along with the historic situation in those days, learning on history and politics could be made possible. Third, the film could be undoubtedly used to conduct the education of law and morality, forming the argument on required law and morals corresponding with ideological circumstance. Finally, education on film analysis could be conducted, by means of examination of the main characters. The analysis on the major characters helps to teach what it would be like for people to become the right ones, by both representing the members of society and determining the quality of life and relationship.

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

• Journal of the Korean Society of Costume
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• v.38
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• pp.83-100
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• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of Broadcast Engineering
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• v.25 no.4
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• pp.537-544
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• 2020

This paper proposes the creation of an android robot head based on the facial action coding system(FACS), and the generation of emotional expressions by FACS. The term android robot refers to robots with human-like appearance. These robots have artificial skin and muscles. To make the expression of emotions, the location and number of artificial muscles had to be determined. Therefore, it was necessary to anatomically analyze the motions of the human face by FACS. In FACS, expressions are composed of action units(AUs), which work as the basis of determining the location and number of artificial muscles in the robots. The android head developed in this study had servo motors and wires, which corresponded to 30 artificial muscles. Moreover, the android head was equipped with artificial skin in order to make the facial expressions. Spherical joints and springs were used to develop micro-eyeball structures, and the arrangement of the 30 servo motors was based on the efficient design of wire routing. The developed android head had 30-DOFs and could express 13 basic emotions. The recognition rate of these basic emotional expressions was evaluated at an exhibition by spectators.

• Asia-Pacific Journal of Business Venturing and Entrepreneurship
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• v.5 no.3
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• pp.47-68
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• 2010

In this study, a unit of regional tourism as a cluster of innovative strategies that can be an assumption that the activation of tourism clusters building on local festivals and participated to review the empirical aims. The purpose of this study was to achieve literature and empirical research were given recognition for the cultural festival in Chungnam, Chungcheong-do you want to go to the local cultural festival linked to the tourist attractions, the cluster characteristics, participation motives, the festival satisfaction, revisit the decision, recommendation of the The analysis was carried out degrees. To this end, local cultural festivals and attractions, Chungnam 150 spectators in the survey was conducted, the statistical analysis using SAS 9 statistical package program was analyzed. Used for statistical analysis, frequency analysis, factor analysis, reliability analysis, multiple regression analysis. Festival of the cluster attribute satisfaction and revisit four on the most direct impact on the competitive conditions were not. Festival in regard to motivation and satisfaction with intrinsic motivation, extrinsic motivation in returning to the doctor more were affected. The condition is the element intrinsic motivation, extrinsic motivation is a race condition was the biggest influence. Therefore, the element condition Satisfaction Festival, a race condition in four to revisit the biggest indirect impact can be seen.

• The Journal of the Korea Contents Association
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• v.16 no.7
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• pp.598-608
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• 2016

This paper attempts to analyze the narrative strategy of co-produced transnational romance films, (2007) and (2010). These films were produced during the heyday of Korean wave, the phenomenon Korean popular culture enjoys overseas fandom. Coupling Korean male star with Japanese female star, and dramatizing their romance, the industries attempted to attract the nations' cultural consumers. International co-production has been considered as a mode of production strategic enough to penetrate into neighboring nations. One of the major benefits of international co-production is to cope with 'cultural discount' between nations. Since producers and directors from different cultural background can participate in the creative process and share ideas, they can devise quite strategic form and content to please culturally heterogeneous consumers. Korea and Japan have long been in socio-political conflict, which makes it crucial for these films' cultural producers not to stir spectators' nationalism. In other words, these films' cultural producers had to develop a narrative strategy not to analogize nations' political reality. This paper, therefore, aims to analyze the narrative structure of these films, and to specify narrative strategy in detail.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.99-112
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• 2005

Christian Metz, the precursor of cine-semiology, considered cinema as a language in the sense that it is a set of messages grounded in a given matter of expression, and a signifying practice characterized by specific codifications. According to Metz, film forms a structured network produced by the interweaving of cinematic codes, within which cinematic subcodes represent specific usages of the particular code. For Metz, cinematic language is a totality of cinematic codes and subcodes, and history of the cinema is the trace of the competition, incorporations and exclusions of the subcodes. He also suggested a filmic text is not just a list of codes in effect, but a process of constant displacement and deformation of codes. Following Metz' textual analysis methodology, I investigated the formal configuration of Hayao Miyazaki‘s animation, Spirited Away. It is interesting to trace the interweaving of cinematic codes in Spirited Away, i.e. codes of lighting, color, movement, and auteurism, across the animation. I focused on the first scene at the bridge to Yubaba's bathhouse, analyzing each cinematic code and its subcode applied. The first bridge scene is carefully constructed to stand out the confrontation of Chihiro (with Haku) and the bathhouse. The bathhouse is not just a building, it represents the powerful witch, Yubaba, yet to appear on the scene, and functions as an antipode to Chihiro. In each shot, every subcode within the codes of framing, direction, angle, color, lighting and movement is used to maximize the contrast between the dominant bathhouse and the feeble 10-year-old girl. In Spirited Away, the subcodes within each cinematic ode are constantly competing and displacing each other to augment the antithesis between the characters and develop the narrative. As Metz's argument that film constitutes a quasi-linguistic practice as a pluricodic medium, Spirited Away communicates with the spectators with the combination and displacement of these cinematic codes and subcodes.