• Title/Summary/Keyword: The Historical Film

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Expressive Effects of King Henry VIII's Costumes in Films

  • Kim, Ju Ae
    • Journal of the Korean Society of Clothing and Textiles
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    • v.40 no.3
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    • pp.554-565
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    • 2016
  • This study analyzed expressive effects of King Henry VIII's costumes in films based on DeLong's (1988) theory. Theoretical analysis was done through a literature research of previous studies from both domestic and international. Empirical research was used as a research tool for visual media such as , , and . An analysis on movie costumes indicated that King Henry VIII's costume almost matched DeLong's (1998) expressive effect on excitement, calmness, strength, and delicacy. King Henry VIII's costumes in films based on DeLong's (1988) theory expressed significant of strength and excitement in terms of expressive effects with some elegance. King Henry VIII's costumes had their expressive effects different according to the intentions of film productions, even for the identical event scenes with the same purpose. The findings of this study can be used as basic data for the research of design and costumes as well as the production of drama stages for historical dramas during King Henry VIII's reign.

Analysis of 2D Animation Scene Color Design - focused on "Uproar in Heaven" (2D 애니메션 장면에서 칼라디자인 분석 - 작품 "Uproar in Heaven" 중심으로)

  • Zhang, Ping;Kim, Hav-Yoon
    • Proceedings of the Korea Contents Association Conference
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    • 2014.11a
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    • pp.325-326
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    • 2014
  • With a history of over 100 years, animation is an art of film and television, and a diversified special form of art as well. Animation scene design is not just about scenic painting but also a time-space formative art that serves for film and television animation, presents story plots, unveils dramatic conflicts and depicts character personalities. Scene design requires both high creativity and artistry. Scene design shall cover the living places, social environment, natural environment and historical environment where the characters live. The use of color is an important part in animation creation. In terms of scene design, it plays a significant role in building up the scene atmosphere, promote the plot and enriching screen contents. Focused on Uproar in Heaven-a classic Chinese animation, this paper analyzes the traditional characteristics of Chinese animation scene color and discusses the application and development of color.

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Costume Code Analysis Placed Mise-en-abyme in the Movie - Focused on the Lucien Dällenbach's theory and the film - (미장아빔으로 배치된 영화 속 의상코드 분석 -Lucien Dällenbach의 이론과 영화 를 중심으로-)

  • Kim, Hyangja
    • Journal of the Korean Society of Costume
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    • v.67 no.1
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    • pp.130-146
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    • 2017
  • This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

A Study on the Characteristics in Chinese Contemporary Tragic Films - Focused on the film - (영화 <5일의 마중>으로 본 현대 중국 비극 영화의 특성 연구)

  • Wu, Ying Zhe
    • Journal of Korea Entertainment Industry Association
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    • v.15 no.3
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    • pp.65-73
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    • 2021
  • This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

A Study on the Clothing of Art Nouveau and Art Deco through Cinema Costume: Focusing on The Wings of the Dove and The Great Gatsby

  • Yun, Ji-Young
    • International Journal of Costume and Fashion
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    • v.6 no.1
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    • pp.71-83
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    • 2006
  • This study is about how Art Nouveau and Art Deco clothing are represented in the costume design of film created after those periods and examines the recreation process of visual media. The costume design of The Wings of the Dove tried to reflect the mixture of fashion trends that could be seen during the times. Milly???s clothes seem to focus on recreating the special features of the 1900???s fashion trends more visually while Kate???s clothes are represented in a strong and simple way to emphasize her personality. The costumes in The Great Gatsby, tried to reinvent the 1920???s clothes in a romantic way. Daisy???s and Gatsby???s costumes were based on the aesthetics of the 1920???s clothing. but emphasized the symbolic nature of the characters to give a greater dramatic effect. By analyzing and comparing, it can be seen that, while costume design usually begin with painstaking research into the historical period in which the film is set it is often altered to highlight aspects of the story. such as the theme and the characters, in an effort to create a stronger dramatic effect. Costume design remains one of the most effective means for a director to visually express the personality and desires of a film???s characters. The ideal aim of costume design is to create something new but at the same time, remain true to the period by being grounded in accurate research.

A Study on the Cinema Costume for the 'TITANIC' (영화 '타이타닉(TITANIC)'의 의상에 관한 연구)

  • Lee, Hea-Kyoung;Chung, Heung-Sook
    • Journal of the Korean Society of Costume
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    • v.57 no.1 s.110
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    • pp.1-16
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    • 2007
  • This study is to design costumes of each characters, seen in the film of 'TITANIC' directed by James Cameron in 1997, by analyzing various costumes for each roles in the film. The 'TITANIC' has got the 'Oscar Award' in 1998 in 11 sectors for its' high box office record and the finest of the work, based on successful visualization of the costumes for the contemporary characters by historical research. The social background of 'TITANIC' would be presumed in the year of 1912, of which era was also called by 'La Belle Epoque', to say, 'good period'. This study, therefore, traced the representative art trend for the 1910's, together with political, economical and social backgrounds as 1st step. The 2nd step is the consideration of fashion trends of costume affected by the contemporary trends such as Art Nouveau and Art Deco in the period. The 3rd step is the analysis of costumes in the film of 'TITANIC'. Finally, this work has designed the virtual costumes of the characters, in imaginary scenes, which could denote the nature of the personality. Hopefully, this study could help designers show sustainable development in creating cinema costumes and other related projects, based on the understandings of this work.

Fashion Films From the Modern Ugliness perspective -Case of SHOWstudio's Works- (현대적 추의 관점에서 살펴본 패션 필름 -SHOWstudio의 작품을 중심으로-)

  • Junyoung Hong;Jisun Lee;Jaehoon Chun
    • Journal of the Korean Society of Clothing and Textiles
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    • v.47 no.1
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    • pp.152-170
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    • 2023
  • Although ugliness had long been considered a negative form of beauty, it has become an independent aesthetic category. However, most previous art studies have focused on Rosenkranz's theory, making its application to contemporary fashion analysis challenging. Therefore, it is necessary to redefine ugliness. This study highlighted four modern ugliness categories from a modern perspective following the examination of the historical considerations of the ugliness concept, namely ugliness as a violation of taboo, ugliness as an unpleasant emotion, ugliness as a vulgar taste, and ugliness as an ethical flaw. From this perspective, SHOWstudios for fashion films were analyzed in the present study. The results of our analysis showed that ugliness in the film was related to socially sensitive subjects and stimulating images. Whereas costumes in the film were used as a tool to convey the subject and to enhance the visual effect of the image. In addition, clothing was identified as a core subject element of the video, particularly when considering ugliness as an ethical defect. This study provides further insights into contemporary fashion analysis, expanding the ugliness perspective, which had been limited to the specific perspectives of scholars.

Influence of Coating Process on Properties of BTA (Benzotriazole) Coating Film for Outdoor Bronze Artifacts Conservation (옥외 청동문화재 보존을 위한 BTA 방청 피막의 특성에 미치는 코팅 조건의 영향)

  • Shim, G.T.;Yoo, Y.R.;Kwon, Y.H.;Kim, Y.S.
    • Korean Journal of Metals and Materials
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    • v.47 no.10
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    • pp.652-659
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    • 2009
  • Many ancient and historical artifacts were made by copper and its alloys. In the case of outdoor exposure artifacts, the surface could be suffered from corrosion and tarnish by the reaction with its environment. In order to preserve the artifacts, surface treatment would be needed and BTA coating has been usually applied to tin-bronze. This paper dealt with the evaluation of the properties of BTA coated film using a linear polarization method and AC impedance measurement. On the base of corrosion rate and film resistance for the specimen formed by coating process, optimum coating conditions are as follows; 3 cycles brushing or 3 cycles spraying coatings for natural dried process and 1 cycle brushing coating or 5 cycles spraying coating for hot-air dried process.

Identification of the Derivated Species from Traditional Coating Films (전통 칠 유래 성분의 확인)

  • Shin, Jeoung Hwa;Ahn, Yun Gyong
    • The Korean Journal of Community Living Science
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    • v.24 no.2
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    • pp.243-249
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    • 2013
  • Identification of coating film species from ancient coating materials is needed to maintaine their surfaces without loss of their original beauty for a long time and understand the historical background of manufacturing techniques. A pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) was applied to identify the origine of films in ancient coating materials. The pyrolysis products, which reflect the source from which they originate were detected distinctively at $500^{\circ}C$. This is a rapid technique that does not require large amounts of sample or any sample preparation. Sesquiterpenes are a class of terpenes that consist of three isoprene units were identified as cadienes, selinenes, cubebenes from the raw material of dendropanax morbifera. On the other hand, alkanes(tetra~heptadecanes), alkenes (tri~heptadecenes), allkyphenols, catechols and fatty acids were detected from the raw material of the lacquer film. Based on these results, the origine of historic coatings artifacts was identified using py-GC/MS by comparison with their pyrolysis products.

Rithy Panh's Practices on Archive Images and Methods of Historiography in La France est notre patrie (리티 판의 다큐멘터리 <우리의 모국 프랑스>에 나타난 아카이브 활용 양상과 역사서술 방식)

  • Yoo, Jisu Klaire
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.8
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    • pp.209-221
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    • 2019
  • A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19th and early 20th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.