• Journal of Broadcast Engineering
• /
• v.12 no.5
• /
• pp.460-479
• /
• 2007

When culture took large part in industrial area, every country has tried to utilize own cultural contents for educational or commercial purpose and the various cultures and histories are recognized as a main concept or subject so that a number of scholars who study history increase. In video game field, special characteristics of interface that audiences participate in the game to complete story-telling is considered as efficient material for learning process. As observed above, it is important to analyze the games that every country makes and export to the world in which the video games is understood as a play of human in general. This Paper has firstly analyzed the most favorite historical games developed in Korea, the USA, Japan, Taiwan and Germany from 1980 to 2005 and secondly, compared that wars and historical origin appears in game scenario, a world view and background story and finally after point out the preferable era and genre of the countries then propose the promising way of design for historical video games. In the process of analysis of a view and heroes in historical games, we compared the real persons, the real historical events and novel in which 11.8% only employed the real persons in 8 out of 68 games. Also the real history and background story are appeared in 37 games which is 54.4% of them. We discovered that the main material that is popular for each country is the historical backing rather than real persons where the favorite historical background is chosen at which they are proud of; 3-Throne era with strong ancient Gogurye for Korea, the 1st and 2nd World Wars and the Independence War for the USA, the tide of war around Middle age for Japan, ancient history of Europe for Germany. The favorite age for video games is Ancient times with 37 games for 54.4%, Middle Age with 7 games fer 10.3%, the prehistoric age with 5 games for 7.35%, remote age with 1 for 1.47%, while current historical games favor Ancient or Modern Age.

• Fashion & Textile Research Journal
• /
• v.16 no.4
• /
• pp.543-553
• /
• 2014

This study analyzes the visual image and the symbolic image of the 'New Woman' main female characters' costumes in three films: , , and , set in the Korean Empire Period and filmed in the last 10 years. The findings are as follows. First, on the visual image by formative characteristics, Gibson girl style was reflected in Western costume design. Korean costume design is based on a traditional style (or modified in some parts). Second, the three films have the same historical background on the visual image by the fidelity of historical research; however, the fidelity of historical research differs and varies with the personality of characters or situations in the films. Third, all three films share the symbolic image by characteristics of characters and 'New Woman' aspect with the same historical background and 'New Woman' female character in common; however, the personality and 'New Woman' aspect of the characters were somewhat different. There was also a distinct difference in the symbolic image of Western and Korean costumes. Western and Korean costumes signify externality versus internality and denial versus the affirmation of national identity in ; dailiness versus ceremonialness and dynamics versus statics in ; and independence versus conformity and variability versus continuity in .

• Journal of English Language & Literature
• /
• v.64 no.3
• /
• pp.453-468
• /
• 2018

Nat Turner's rebellion in 1831 was considered pre Civil War South's most dreadful nightmare due to the merciless murder of white slave owner victims. The motive of vengeance has been emphasized as that of Turner's notorious black preacher religious fanaticism. However, the recent film, The Birth of a Nation (2016) directed by Nate Parker, utilized the identical title of a film (1915) directed by D. W. Griffith. Providing limited evidence, information about the rebellion in Thomas Gray's pamphlet The Confessions of Nat Turner (1831), was the only accessible historical source for the factual event of the slaves' rebellion. In addition, William Styron's The Confessions of Turner (1967), a fictionalized biography, also examined Turner's life in the harshness of slavery. Although these two texts deal with the personal level of Nat Turner's rage and religious enthusiasm, both provide only fractured parts of the motive of vengeance. Strikingly, Parker's film interrogates the ideology of "victims," as well as the hierarchical term of "confessions," with their different positions between whites and blacks. More specifically, Parker's film offers discursive fields of proslavery arguments regarding biblical interpretations in addition to external visualization of slaves' inner emotional lives. The film demonstrates how the institution of slavery allowed slaves to be exploited, beaten, raped, through interrogating the problematic image of the "contested hero" Nat Turner. In contrast to the traditional image of blacks' bloody rebellion, the film underlines the absurdity of certain Biblical misinterpretations. It furthermore implies how the 1915 film manipulated proslavery propaganda in America.

• The Journal of the Korea Contents Association
• /
• v.17 no.1
• /
• pp.750-758
• /
• 2017

Korean film actors and staff participated in Incheon(Terence Young, 1981) Hollywood filmmaking workforces had taken in South Korea. According to the dictation of the elders who participated in the making of the film Incheon, through the movie they were able to experience Hollywood film production system and said it had an impact on Korea filmmaking system. It is the reason that this study tracks the historical traces of the almost forgotten film. This article analyzed an expert assessment and recognition of the audience about the film Incheon produced by the Hollywood production system. Expert review was utilized in such press articles and tomes about the actors and staff who participated in the film. Also, the audience rating was analyzed in terms of the recognition at the theater or watching cable TV, Internet etc. Evaluation of expert in Incheon was monotonous but negatively red, I could confirm that the viewers recognized in various ways, rather than evaluated the film.

• The Journal of the Korea Contents Association
• /
• v.19 no.10
• /
• pp.126-136
• /
• 2019

The film born by Lumiere brothers in 1895 was not the first. Edison, who invented the Kinetograph four years ago, has already made dozens of films. But it has been relatively undervalued. That's because the platform for projecting a movie was through a single person viewer called Kinetoscope. However, the physical characteristics of the film itself are the same as those of modern films, and have a unique aesthetic distinction compared to other early films. The subject is entertainment-oriented, and the image is characterized by contrast effect. In addition, even before the birth of the film, it shows the important creative elements and genres pursued by fictional films, and has industrial production systems and experts. If Lumiere's film is the beginning of a documentary film that portrays the fact, Edison's film deserves historical value as the beginning of popular film, which is the hallmark of modern cinema.

• Journal of Popular Narrative
• /
• v.26 no.4
• /
• pp.117-144
• /
• 2020

The film Burning (Lee Chang-dong, 2018) is one of the most noted Korean films in recent years as a work that unfolds an elaborate narrative in a delicate visualization. This film is a multi-vocal text in which different types of characters appear and scattered objective facts and ambiguous subjective desires are intertwined, so it is a text that has room for diverse interpretations. This article attempts to read Burning as an ethical discourse centered on the protagonist Jong-su, noting that the film raises universal and significant ethical issues that transcend the specific social and historical conditions of a contemporary Korean youth. I would like to examine the situation in which Jong-su is facing and his reaction to it, above all, from the perspective of Jong-su's ethical awakening and leap forward. Jong-su, a young South Korean non-regular man living in the present, encounters and connects with Hae-mi and Ben and attempts to understand the mysteries of the world. His trajectory, which the film shows closely, inevitably intersects the social and historical dimension of confusion and frustration of a young man graduated from the Department of Creative Writing, the reality of family dissolution and the individual psychological dimension of the sudden disappearance of his lover Hae-mi. Burning is a magistrate film that depicts Jong-su as an ethical subject oriented toward 'communal togetherness' while confronting the world and exploring its mysteries despite all his unfavorable conditions, such as his social position of the precariat youth and the epistemological uncertainty of reality perception. It is read as a story of his painful growth, in which Jong-su is becoming a 'writer', who once was a helpless non-regular delivery worker.

• The Journal of the Korea Contents Association
• /
• v.12 no.2
• /
• pp.116-126
• /
• 2012

As a film maker, Lee Chang Dong stands out from most Korean film makers who work within the trappings of genre films. To be sure, Lee has also used the trappings of genre films, such as noire and melodrama, but primarily as a tool to communicate with film audience. In his most recent film "Poetry", Lee seems to have even stripped even the minimal trappings of genre film. Lee commands the audience to self-reflect and work towards their own conclusions by denying them the illusory identification on screen. In this way, Lee's works are counter cinema. Lee achieves a distancing effect using such filmic apparatuses as hand-held camera, fantasy, mise en abyme, and returned gaze. Through these filmic apparatuses, Lee exposes the re-presentation of text and compels his audience to see the historical and political contexts of the text. In this study, I make the case that Lee Chang Dong's film making is an act of repetition compulsion that cultivates ethical reflection, through symbolization of the invisible realities.

• Trans-
• /
• v.14
• /
• pp.123-155
• /
• 2023

This study analyzes the characteristics of the social value creation process through the collective appreciation of film. It focuses on the historical development of community cinema in Japan. In modern-day Japan, where digital video is easily accessible and the use of private, personalized media spaces widespread, a sub-culture of collective film appreciation is spreading, as more and more Japanese begin to attend movie screenings in non-commercial theaters. In addition, Japanese community cinema center has begun to integrate and support this viewing experience, which has come to be known as community cinema. A literature review revealed the following characteristics of community cinema. First, local theater screening groups or appreciation groups cooperate with residents to establish and operate movie theaters. Second, these spaces create theoretical and practical participatory learning opportunities that foster understanding of and participation in film culture, through large-scale associations with organizations or institutions that offer viewings. Third, based on collective appreciation, the film culture created through repeated joint viewings produces a social arena in which community can be realized. In these communities film can be put to socially productive uses, such as problem solving.

• Proceedings of the Korea Contents Association Conference
• /
• 2010.05a
• /
• pp.514-516
• /
• 2010

2000년대 한국영화는 97년의 정치적 격변 이후 본격적으로 산업적 성장과 조우한다. 특히 적극적으로 역사적 사건을 활용하려는 노력은 스펙타클을 중심으로 집약된다. 다만 문제는 역사적 사건에 대한 소비는 프레드릭 제임슨이 염려하던 주체의 죽음, 혼성모방 그리고 노스탤지어 모드라는 포스트모던 시대의 특징을 전형적으로 보여준다.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2018.05a
• /
• pp.291-292
• /
• 2018

The purpose of this study is to examine the sensitivity of the audience to the background of the building where Chinese historical film 'Hero' is used. In this study, the sensitive vocabulary suitable for the building background was derived through previous research related to sensitivity, and the sensitive analysis was analyzed by questionnaire form. Research result shows that the building background of the movie can have an sensitive impact on the audience and will help to understand Chinese traditional style and culture.