• The Journal of the Korea Contents Association
• /
• v.19 no.3
• /
• pp.155-162
• /
• 2019

The characters' voices in the movie, Rashomon mean the absence of memories created by self-consciousness in order to avoid the crisis. The varying statements of the characters and the three spaces: the space of Nakanimon (th e ruins), the representation space as polyphony (the forest), the egoistic space of truth (the guardian), show the social ills of doubtfulness and mistrust among the Japanese at that time due to the defeat from the war. This matches with the polyphony theory of Mr. Bakhtin, a Russian cultural critic. The key concept of polyphony theory is that the voices that do not accord each other are not harmonized but each voice builds their own world and participates in the novel without being influenced by the creator. This study's aim is to discuss two aspects; Bakhtin's polypony theory allows polyphony film s to function as cinematic composition and spatial characteristics of polyphony films in the movie, Rashomon.

• Journal of Digital Convergence
• /
• v.15 no.6
• /
• pp.399-406
• /
• 2017

Contrary to the fact that the old films contain artistic and include contemporary literature, religion, and philosophy, latest films are produced with focusing on external interesting composition and sensational scene. A good movie emotionally express the directors' topic message exuding from an interesting story, and empathize with the social agenda which shows a sharp look of the directors' on contemporary social aspect. In the movies of the Coen brothers, it seems like an entertainment movie as typical black comedy genre through irony and happening, but in fact, it inserts a lot of social problems in the film to show that they cynically express their social agenda from a contemplative view. In their movie "The Big Lebowski (1998)", it seems like they are creating comical content through the main characters' unaffected attitude. However, it is director's excellent director of the sub-text that expresses American social issues such as Vietnam war, post-modernism and an obscurantist policy and au fond the comedy about the historical facts of mass production of social maladjustment into black comedy. We expect to contribute to make a step forward in the Korea film industry by analyzing such movies that has the cultural power of influence.

• Journal of Fashion Business
• /
• v.12 no.2
• /
• pp.28-41
• /
• 2008

Fashion style in movies delivers their image the atmosphere and becomes the means for containing the personality, spiritual world and inner thinking the characters in the movies and including its plot. When the American new cinema emerged in late 1960's and early 1970's in the American movie history, the new left wing which wants to overturn adult generation and the hippie culture which wants to escape from an existing system also emerged. Therefore, this study analyzed the fashion style in the movie 'Easy Rider (1969)', i.e. the representative new American movie which showed the isolation from adult generation and negative realities of the American society. From the movie, we can understand the young generation after the Vietnam war, i.e. baby boom generation, pursued the hippie culture as their young culture. With their strong self-consciousness, they formed their own lifestyle and values which are different from those of adult generation, and we can understand clothes were used as a tool to express their value system.

• Cartoon and Animation Studies
• /
• s.47
• /
• pp.241-271
• /
• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• Proceedings of the Korea Contents Association Conference
• /
• 2009.05a
• /
• pp.273-276
• /
• 2009

The development of computer hardware equipments and computer graphics technique has taken lots of changes in a movie production of VFX (visual effects) part. Particularly, through the developing of various computers graphic techniques to create imaginary creatures in a movie as high resolution like a real, weight and percentage of creature's appearance in a film is increasingly higher than past year. Creatures play an important role in a various movies such as monster films 'D War' and 'The Host', as well as fantasy films 'Harry Potter', 'The Chronicles of Narnia' and "The Lord of the Rings". The fact that authorized movie sites and organizations rank monsters in diverse processes is to show it. Nevertheless significance and priority of creatures are increased day by day, there are rare to see a basic research about classification and materiality of creatures. In this study, it is organizing materiality of creatures and designing realistic and convincing creatures to help efficient visualization from now on.

• Progress in Superconductivity
• /
• v.9 no.2
• /
• pp.177-182
• /
• 2008

[ $MgB_2$ ] thin films were fabricated using hybrid physical-chemical vapor deposition (HPCVD) method on silicon substrates with buffers of alumina grown by using atomic layer deposition method. The growth war in a range of temperatures $500\;{\sim}\;600^{\circ}C$ and under the reactor pressures of $25\;{\sim}\;50\;Torr$. There are some interfacial reactions in the as-grown films with impurities of mostly $Mg_2Si$, $MgAl_2O_4$, and other phases. The $T_c$'s of $MgB_2$ films were observed to be as high as 39 K, but the transition widths were increased with growth temperatures. The magnetization was measured as a function of temperature down to the temperature of 5 K, but the complete Meissner effect was not observed, which shows that the granular nature of weak links is prevailing. The formation of mostly $Mg_2Si$ impurity in HPCVD process is discussed, considering the diffusion and reaction of Mg vapor with silicon substrates.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.7 no.6
• /
• pp.1407-1415
• /
• 2006

Japan started to colonize Korea in 1910. It's when It forced and made Chosun sign on the Treaty of Protectorate. The Chosun faithfully practiced Japan's colonial policy over Korea. Futhermore, it stopped many Koreans from an anti-Japanese movement and tried to make Koreans have a positive attitude towards Japan. For this, Japan advertised the policy called Nae-sun-il-che which meant Korea and Japan were a community together from the same root. Ultimately, it targeted on absorbing Korea within their territory. With this goal, Japan kept on practicing the policy to acculturize and brainwash Koreans, totally depending on force and pressure from 1910 to 1919. However, this policy had changed by the overall anti-Japanese movement happening on March 1st 1919. Saito, the third governor-general who was appointed laster on, made an effort to win over He favor of Koreans in a less forceful way of the cultural politics. The change of policy had been specified in diverse actions such as permitting civil mass-media bodies forming the observation groups and opening conferences. In the case of daily newspapers, Japan had permitted only the ones by the Government-General of Chosun such as Maeil-shinbo, Kyunsung-ilbo, and Seoul Press before, but then other civil newspapers In Korean stated to be released. Along His Japan formed both Korean and Japanese observation groups to promote the mutual understanding and showed off Japan's goods in the propaganda films by implementing a film department. It's because Japan totally recognized and understood the impact of films. Therefore, Japan distincitively established a film agency for the production of propaganda movies while it banned the civil film production after 1937 when Japan started the war against China and USA in row. So, only one film agency, ruled by the Government-General of Chosun, produced movies from 1942 to 1945.

• 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.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.165-191
• /
• 2019

The purpose of this article is to elucidate why the motif of time travel is repeated in the science fiction narrative by examining the functions of this motif in the SF movie series of Star Trek in its narrative and non-narrative aspects. Star Trek IV: The Voyage Home (1986) aims to attract the audience's interest in the story through the use of plausible time travel in the form of the slingshot effect which causes the spacecraft to fly at very fast speeds around an astronomical object. The movie also touches upon the predestination paradox that arises from a change of history in which it describes a formula of transparent aluminum that did not exist at the time. The film also serves as an evocation of the ideology of ecology by including humpback whales in the central narrative and responding to the real issue of the whale protection movement of the times. Star Track VIII: First Contact (1996) intends to interest the audience in the narrative with the warp drive, a virtual device that enables travel at speeds faster than that of light and a signature visual of Star Trek, at the time of its birth through time travel. The film emphasizes the continuation of peaceful efforts by warning the destruction of humanity that nuclear war can bring. It tackles with the view of pacifism and idealism by stressing the importance of cooperation between countries in the real world by making the audience anticipate the creation of the United Federation of Planets through encounters with the extraterrestrial. Star Trek: The Beginning (2009) improves interest through the idea of time travel to the past, this time using a black hole and the parallel universe created thereby. The parallel universe functions as a reboot, allowing a new story to be created on an alternate timeline while maintaining the original storyline. In addition, this film repeats the themes pacifism and idealism shown in the 1996 film through the confrontation between Spock (and the Starfleet) and Nero, the destruction of the Vulcan and the Romulus, and the cooperation of humans and Vulcans. Eventually, time travel in three Star Trek films has the function of maximizing the audience's interest in the story and allowing it to develop freely as a narrative tool. It also functions as an ideal solution for commenting on current problems in the non-narrative aspect. The significance of this paper is to stress the possibility that the motif of time travel in SF narrative will evolve as it continues to repeat in different forms as mentioned above.

• Journal of Korea Entertainment Industry Association
• /
• v.14 no.4
• /
• pp.187-198
• /
• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).