• Journal of Information Technology Services
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• v.18 no.3
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• pp.37-51
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• 2019

This study aims to establish the direction of development of Korean cinematography technology in the era of the 4th Industrial Revolution and present future development plan. First, in order to diagnose the current status, supporting policies of various countries and film technology research trends were analyzed. Each country is expanding the support for film technology including tax credits. Through the analysis of patents and research papers, recent issues have shown that Virtual Reality, HMD, Artificial Intelligence, and Big Data are applied to film technology. Next, the survey results of Korean film technology level for filmmakers were 70% for production, 47.5% for distribution, and 60.3% for screening comparing to the level of the leading country. The gap was caused by the lack of funds for research and development and insufficient government support policies. In addition, interviews with film makers revealed the need to support filmmaking that combines technologies such as localized film technology, artificial intelligence, and deep learning. Finally, it is suggested that technology sharing platform should be developed in the future through the discussions of technology, science and academic experts', and technology development should be carried out in the field. As a result, film technology R&D should be promoted in order to develop technologies specific to movies. Advanced technology foundation for the growth of film technology should be developed to systematically equip the infrastructures such as education and human resources. In addition, technology development that links standardization should be carried out. In this study, we propose the development of Korean film technology to prepare for the 4th Industrial Revolution, and it is expected that the 2022 film technology power nation will be realized.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.59-65
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• 2019

This study examines how cinematic texts are used in movies through Lee Jun-ik's 2015 film, and what narrative and visual effects are obtained through them. This film portrays poet Yun Dong-ju as a central figure and chooses to reconstruct his life. The movie, , used Yun's poetry as a device to maximize the lyricism of the film and to suggest a change in the fate of the character and the inside. In other words, uses Yun Dong-ju's poetry to aesthetically express the inner change of the characters in the film and the sensitivity of the film. Through this, I visualize Yun Dong-ju as poet Yun Dong-ju, a poet who was stuffed in literary books, as a normal literary youth. It is also a reminder of the weight of the reality that the present youth is experiencing and the problem of an individual living in history. In this respect, the movie is a major text that depicts the poetry and poetry of the time, and the age of poet through the media. 'Poetry' as the text of the text delivered with the image maximized the lyricism of the image and led to high aesthetic achievement. Through poetry and poetry, it can be regarded as the main text approaching the problems of history, individual, literature and reality.

• International Journal of Advanced Culture Technology
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• v.11 no.4
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• pp.352-357
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• 2023

This study focuses on the art style research of the 3D Animation <Spider-Man: Across the Spider-Verse>, exploring the film's innovation in art design. The article first analyzes how the movie skillfully blends American comics, watercolor painting style, Pollock drip painting, and ink painting, among other artistic techniques, to present a unique visual experience for the audience. By specifically dissecting the character design and scene composition in the movie, it explores the specific application of these art styles and their methods in digital image production. Ultimately, the paper emphasizes the contribution of <Spider-Man: Across the Spider-Verse> to 3D Animated cinema, particularly its innovation in the field of art design, as well as its inspiration and possibilities for the diversity of art styles in animated films. Overall, this study aims to provide in-depth academic insight into the field of animated film art design and to promote its development and innovation.

• Journal of Korea Multimedia Society
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• v.20 no.3
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• pp.562-570
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• 2017

One shot tasks like a MERSC handling policy, a cinema poster, and so on are too small, diverse, and sporadic to make them as apps or web applications. They are usually shared as the form of notes attached in the field or messages in smart phones. In order to support inter-operability with internet web sites, QR/NFC tags are attached to them. What matters in the web technology is that HTML5 standard does not supply the accessability of smart phones' resources like a camera, an audio, magnetic sensors, and etc. In this paper, we propose a universal smart phone application for handling various one-shot tasks in the same UI/UX. One-shot tasks are described with HTML5 web documents, and the URL for the web documents are stored in QR/NFC tags. A smart phone scans a tag, and then the web document is retrieved and presented finally. QR tags can be delivered to other smart phones through messages or SNS. We solve the problem of HTML5 standard supplying a resource access library with javascrippts. We suggested the whole architecture and the internal structure of QR/NFC tags. We show that our scheme is applicable to make variable one-shot tasks.

• The Journal of the Korea institute of electronic communication sciences
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• v.18 no.5
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• pp.911-918
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• 2023

This paper analyzed technologies related to video and sound device manufacturing closely related to media images, divided applicants into companies, research institutes, universities, individuals and the public, and conducted technical statistical analysis, collective intelligence analysis, and open innovation analysis. It is necessary to express innovative ideas through technology in research institutes or universities, and efforts are needed to expand technologies in the media field in universities. Looking at the contents of patents actually filed, patents filed by companies or individuals were mostly related to media technology, and patents filed by universities and research institutes were mostly related to media content. This means that hardware technology patents should be developed extensively and in-depth in an inseparable relationship between media technology and content, and should be a driving force for software content to play a more diverse and creative role.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• The Journal of the Korea Contents Association
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• v.9 no.1
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• pp.205-214
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• 2009

There has been a change in the production of the movie and techniques of the expression in the digital technology which has been used universally since 2000. As the focus of the production system of the movie has moved from the production procedure centering around filming to the procedure centering around editing used by the digital tools. The flows and boundaries of the production system which is consist of pre-production, production and post-production are getting indistinct. In the point of view of aesthetics and technology, this kind of change expands the creativity and originality for the screenwriters and provides the reality and vitality which haven't been found in previous films for the audience. It also elevates the quality of the movie. However, this ‘illusionary spectacle' has a vulnerable point that shows the aura and details of the movie soundly for the audience.

• Journal of Digital Convergence
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• v.15 no.8
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• pp.375-381
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• 2017

The America film, Beauty and Beast has grossed over 4,273,401 after being released for 21 days. The growth of movie profit in the video market is also developing rapidly. In this paper, we will focus on the PLF(Premium Large-Format) video technology, because PLF video technology can help audience to enhance the sense of 'immersion' and enjoy a different visual feast. In PLF video technology, IMAX, screen X, 360 degrees circular screen are the most important formats. By comparative analysis of these 3 formats, the biggest difference is their number of screens and appearance. Based on the result we can understand the 3 kinds of PLF platforms better and help us to make a choice between them. In addition, further research about the manufacture method of PLF technology will be discussed.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.401-413
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• 2007

The birth of a new mobile medium of communication In 2005, the DMB (Digital Multimedia Broadcasting), was celebrated for the mobile and asynchronous personal medium. But now, the most film- & video-channels of this epoch-making medium of communication combine with the rebroadcasting of long play film for cinema oder TV series. The purpose of this study is thus to point out the disharmony between new mobile medium and the old, recycled contents and to propose as an alternative content the digital shortshort moving images.

• International Journal of Contents
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• v.16 no.3
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• pp.51-65
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• 2020

Narratives arouse diverse and rich affective responses to recipients, and this is one of the reasons why narratives are universal and popular. Computational studies on narratives have established a formal model or system of the affective response based on the theory in psychology or media research, and have analyzed or generated a narrative that can evoke a specific affective response. In this paper, we propose a new computational model that can detect the affective response expected to appear in the narrative based on the narrative agent's knowledge. First, we designed a narrative representation model that can elaborately express the event structure and the agent's knowledge as well. Additionally, an analysis method was proposed to detect the three affective responses and the related situational information. Then, we validated the model through a case study about an actual movie narrative. Through the case study, we confirmed that the model captures the affective responses of the audience. The proposed model can be effectively used for the narrative analysis and the creation that must consider the affective responses of the recipient.