• Journal of the Korean Society of Costume
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• v.31
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• pp.145-164
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• 1997

Cinema costume can stimulate the public to synchronize with and replicate what they see in the movies. Especially when the public thinks the stars in the movies . Especially when the public thinks the stars in the movies are beautiful or dramatic the styles of cinema costumes powerfully affect them. Thus cinema costume designers quickey become fashion designers. Edith Head who strongly believed cinema costumes to be an effective means of portraying the Character's personality and psychological make-up was an innovative designer whose costumes manifested this belief. She enhanced the character's individual image and distinction for the public through her artistic design in costumes. She adapted a realistic approach but her costumes invariably produced aesthetic ef-fects. Since the Academy Awards added the category of costume design she led the field with 35 nominations and eight oscars during 33 years of her productive work. Edith head was a dominant figure in costume design; her creations were highly renowned as an art form while they gained popularity. The purpose of this study was to reveal the ef-fects of Edith Head's cinema costume designs on fashion. This study was also to emphasize the powerful influence on ashion of cinema costume and cinema costume designers in general. The study was done through literature movies for which she created costumes fashion magazines and Edith Head's original sketches. The influence of Edith Head's costume de-sign on fashion is as follows: 1. She introduced and lead the casual fashion in the 1950's combining simplicity and sophistication. 2. She altered uniforms and reconstructed public clothing for multiple functions. 3. She rearranged high school prom dresses through the movie 'A Place in the Sun" to en-hance characteristic of each gender and the Dandy Look of the 1930's into men's apparel in the 1970's through the movie "The Sting" 4. She expanded the traditional style in the 1940's and became a leader in ecological style. 5. She adapted glitter from astronaut's ap-parel into public clothing. 6. She resturctured Sabrina Pants in the 1960's to accentuate the individuals strength by overcoming one's weakness without minimi-zing it's aesthetic appeal and reintroduced the pants in the 1990's. 7. She introduced elegant negligees to gen-eral public and maintained it in the public do-main. As it is revealed Edith Head's costume de-sign not only impacted the field of fashion dur-ing her time but also is presently influencing modern fashion throughout the world as it is witnessed by repeated reintroduction of her fashion styles. Reviewing her cinema costumes it is concluded that cinema costumes it is concluded that cinema costumes powerfully af-fect the public through a visual channel more than any other routes. Cinema costumes can become the origin of fashion by stimulating the public to synchronize with and replicate what they see in the movies. Since cinema costumes can launch fashion trend it requires further research. Based on what is revealed in this study. it would be beneficial to examine how cinema costumes affect people socially and culturally and how they could provide resources for re-search in fashion trends. It is also the writers opinion that there should be more designers such as Edith head who could lead the field of costume design into the twenty-first century.

• The Journal of the Convergence on Culture Technology
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• v.9 no.4
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• pp.105-112
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• 2023

This study is an example of a Cinema Therapy class through the movie Life of Pi (2013). Cinema Therapy proceeds through the process of identification, empathy, projection, and observational learning through the cinema. Through research, students objectively examine the situation of the characters in the movie, identify themselves, and empathize with them. Students evaluate the situation of the character in the movie, and indirectly experience the hardships facing the character in the movie through the answer to "What would you do if I were the main character?" and think about what they would do. I admire the outstanding points of the main character and reflect on my life. Through this process, students examine the situation of their emotions and problems and specifically suggest ways to solve them. In the end, students' emotions can be fully healed through the movie. Healing through the cinema should start with the selection of the cinema in consideration of the healer's client. It is also necessary to sufficiently present a specific method of applying this. It is expected that the cinema healing plan will be able to develop further by presenting various healing methods in the future.

• Journal of Korean Association for Spatial Structures
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• v.11 no.3
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• pp.105-113
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• 2011

The purpose of this paper is to provide a suggestion regarding how to make systematically improve the evacuation facilities of the cinema which is a large indoor space and utilizing by a numerous people. For the first, as a method of study, an analyzed on researching documentary recorders which are concerned with building codes regarding the evacuation facilities of cinema is made, and Secondary, carried out a survey of questionnaire for finding what the most audiences' idea regarding evacuation facilities of the cinema while they are utilizing the facilities, and analyzed the information. In the focus of the users, the result of analyzation reveals that as the item of practical facilities such as width and number of exit ways from viewer seats, width of corridors are highly suggested to improve practical system.

• Trans-
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• v.3
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• pp.87-107
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• 2017

In this paper, we tried to find out what is the cinematographic reality conceived by André Bazin. To this end, we examined the process of his long exploration of realism, focusing on his film criticism. Through this, we read his deep concern that the film medium, which is more imitative than any other medium, would not become artistic but rather stimulating mimicry. When photographs or movies first appear, people have been interested in saving money by simply storing scenes in front of them or imitating stimulating scenes before realizing their artistic value. In this way, Bazin warned us that when the cheap pleasure derived from the simple imitation of fact is concatenated with the logic of capitalism, the film falls into a subordinate medium and drops the value of human beings indescribably. He therefore argues that cinema must transcend simple imitative dimensions by exploiting various abstract expressions in its own language. His works about the realism in cinema is meaningful in that the value of true realism of the movie is important to build up humanism today in respect that the movie raises extensively the logic of capitalism through visual pleasure.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.112-114
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• 2010

Mainly through the pervasive emergence of portable devices (laptops, PDAs, now iPods), the screen arts, that is, the cinematic arts has suffered the loss of what constitutes the core of its existence: the theatre and theatre-audience. This paper discusses cinema's distinct place and significance in culture and its difference from television and other forms of mass media. The most pressing question at hand would be, "how do you bring back attention to the medium that is distinctly cinematic?" "How do you bring people back to the theatres?" This paper argues that cinema, and the film industry as a whole must push for a technological leap that is in conjunction with culture. With mentioning of the rapid development of 3D technologies in the moving images, this paper proposes that such technological novelties and innovation are necessary conditions for a new kind of film culture to emerge.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.333-342
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• 2019

The purpose of this study is to compare and analyze the cases of the multiplex cinema industry of CJ CGV, Lotte Cinema and Megabox to study what CJ CGV's innovative core competence is from a management strategy perspective. Through this, the core competence strategies, Value, Rareness, Inimitability, and Organization(VRIO) were analyzed in order to derive from the major success factors based on the expansion process of Cultureplex. According to the analysis results, CJ CGV's differentiated value roots from Cultureplex, which CJ CGV priorities in creating movie theaters a cultural entertainment hub. The ability of CJ CGV in transforming the cinema into a cultural and living playground through technological innovation is it's cutting edge from its competitors under the rareness factor. A CJ CGV attains its inimitability by establishing social brand power as an inclusive social contribution. An organization of CJ CGV is a globalization worldwide. CJ CGV is to increase the brand value of cultural experience movie theaters and enhance customer satisfaction by expanding the use of existing movie theaters and pioneering with innovative development to theaters. As more to be sought out from this thesis, CJ CGV has steadily increased its competitive edge, raising its core competence of business value.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• Cartoon and Animation Studies
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• s.33
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• pp.293-315
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• 2013

The number of French movies imported to and released in S. Korea is constantly increasing. All French movies released in Korean theatres, however, are not a great success. For the domestic film market and audiences, the idea French cinema is generally equivalent to 'diversity cinema' or 'arthouse films' is common notion. In this respect, French movies introduced throughout the country would be culture product into which one can read other cultural significances different from that of domestic cinema, and also serve significant cultural value to understand diversity in cinema, for domestic audiences. However, it could be said that French movies, in common with Hollywood films, obey rules in the film industry and needs for audience trends. In this content, what the researchers want to do is to analysis the tendency of the domestic audience reception and main causes of commercial success in the domestic film market, analysing Taken produced in France. The analysis, most of all, suggests the consideration for the film industry beside the notion of cultural diversity in cinema, as imported films are released in the domestic theatre. For this, the study examines the promotional strategy the french cinema perceived generally as the arthouse film applies extensively, analysing on Taken, and inquires into factors of commercial success, using SWOT Analysis. This study, the first of all, (briefly) examines what audiences consider when they choose a film to watch, articulating (generally) the choice-and-consume modality of the domestic audience. And then, it examines dominant factors Taken was a commercial success in domestic film market, even though the film is a french film, using SWOT Analysis. On the basis of SWOT Analysis, finally, this study draws up promotional plan for Taken, and shed new light on dominant preconditions, when the foreign cinema would be imported from the now on.

• English & American cultural studies
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• v.14 no.1
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• pp.241-267
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• 2014

Media representations of race have attempted to contain blackness by packaging and commodifying it to reflect and affect preconceptions and prejudices of dominant culture. From the early beginnings of blackface minstrelsy as entertainment form in the $19^{th}$ century, representations of African Americans in popular culture and mainstream media have been closely associated with the notion of performance. The performative nature of racial representations is situated within the discursive struggle over what it meant to be Black, or what it meant to be labeled and portrayed as Black in American culture. This essay discusses four films that contain performances of "blackness" that assemble race and gender in complex configurations: Bamboozled (Spike Lee, 2000), Girl 6 (Spike Lee, 1996), Big Momma's House (Raja Gosnell, 2000), and White Chicks (Keenen Ivory Wayans, 2004). I explore how the performative nature of "blackness" is emphasized, thematized, and problematized in these films through the physicality of corporeal figures that embody the close link between race and gender identities. Once we are cognizant of the fact that race and gender are fabricated cultural constructs and performative acts, we can recognize that notions of "blackness" and "femininity" are not naturalized or essentialist, but open to recontextualization and revision.

• Trans-
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• v.5
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• pp.1-27
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• 2018

What is 'analyzing a movie'? And, what is 'its role in film studies'? The question required a systematic and scholarly answer, and filmologie was making a clear place for itself. Through psychology, aesthetics, text theories and of course semiotics, the conceptualization of 'film' has been formed. Deleuze, who has been continually writing about 'movies' in his philosophical essays, ended the debate in defining the relationship between 'image and essence' when he released 《Movie 1, Movement-Image》 in 1983. 'Film' rapidly became the topic of the century and became a 'device' that leads the way of thinking. The reason why Jean-Louis Boissier labeled this 'film' as 'device (le dispositif)' was not part of film studies. What should be noted is that the mention of 'film' became a key part of the debate of 'reproduction', which was the most popular subject of philosophy and humanities. In the digital era, the film is once again questioned about its definition. In retrospect, themes of core debates of 'History of cinema' have always been driven by simple and superficial technological changes. With the emergence of CG (Computer Graphics), the question of 'cinema' in the 21st century is not only a philosophical discussion on the problem of 'reproduction', but also a crucial change that shifted the focus of the debate on the nature of the film from 'production' to 'distribution'.