• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.82-91
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• 2018

This paper examines the sound of Godard's <$Pr{\acute{e}}nom$ Carmen> from Deleuze's film aesthetics and Merleau-Ponty's phenomenological point of view. The rehearsal scene of a string quartet is a mirror-image that illuminates the music itself, and becomes a crystal-image with the indiscernibility of the present and the past in the break with the main narrative. On the other hand, urban noise and waves are the seeds composed of pure optical (sound) images and grow into pure sound crystals that collide with what is seen through the juxtaposition, substitution, and intentional connection of sound. However, these sound contradictions also lead to the integrated sound category as a 'sole movement' through Merleau-Ponty's dialectical thought, and even the dialectical sound management of pop and classical music is no longer a confrontation of the genre, but is integrated into the materialistic category of sound. This study is differentiated from the existing research by solving the sound aesthetics of the Godard's film through philosophical thought.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.26-33
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• 2014

From a film esthetic point of view, this paper deals with all the sound elements which are speech, noise, and music for the signification of sound in Hitchcock's . The speech makes a mental image auditory through voice-over, and sometimes it has the indiscernibleness of life and death to be incarnate. This paper has demonstrated that the noise also can mark punctuation-narrative boundary besides visual techniques pointed out by Metz, and it cites the sound of falling water which completes shower scene, offsetting a scream in audience's mind. In the music, desire and oppression are symbolized and they are making a dissonance. Upon occasion, the coexistence of two chords represents duplicity in Norman-mother. Also, the music may disappear in the way of silence, being mummified in the time paused. Thus, the common filmic signification of sounds in can be called reconceptualization of the image.

• The Journal of the Korea Contents Association
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• v.6 no.8
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• pp.57-67
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• 2006

The motion effect of animation can be maximized by using the intended number of frame(flickering phenomena) responding to the viewer's perception in the production processes. But, the high contrast of chroma in a color arrangement can cause very dangerous situation if a particular effect(scheduled number of frame for the intended rapid flickering in a zoom-in scene of the warning light of police car and the traffic light) or a excessive visual stimulus is tried. The danger of flickering phenomena is defined as 'Flash Nervousness Attack Symptom' in medical terminology, which has received wide attention because the damage to the viewers of Pocket Monster was very serious in Japan. Producing a piece of animation work, the quality control of colors is important but the color setting considering the psychological aspects, the danger of repetitive flickering of flashes and patterns in image effect are more serious, so these factors should be checked in the production stages. After investigating the domestic and foreign prescriptions including the guidelines for animation production technique in Japan, a solution to reduce the danger of flickering phenomena of color and light was suggested through statistical comparative analysis with the test results.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.152-162
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• 2007

Subject of this Study is focused on set design for short animation, GHOST, made and presented by animation studio, BEYOND PROSCENIUM. Sets in animation have several functions. First, sets are a playground that character can play to lead a story. Second, sets explain background, which is time and space. Third, sets can visualize metaphorical meaning or symbolic system in animation. To obtain final design that is sufficient to those functions, this study analyzes the case that metaphorical and symbolic meaning from scenario is how to apply into set design also, mentions the method that designer multiply considers character, property and composition from the camera and movement from those elements. Set designers for animation should have ability that simultaneously considers so many elements and they need design skills to create it.

• The Journal of the Korea Contents Association
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• v.17 no.1
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• pp.193-200
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• 2017

Computer technology pursuing more innovative image than before, makes some characteristics which distinguishes the digital fiction film from the analogue fiction film. One hand, the split screen in analogue film aides the development of drama in the aspect of narrative, on the other hand, it controls the psychology of spectator. The composite image in digital fiction film by computer graphic, and elaborated digital editing show many innovation in the field of audiovisual. In this context, I would like to remark on the digital film (2003) directed by Ang-Lee. In , the split screen and the composition of the fast transiition of shots in the scene of laboratory were created by computer graphic program for special effects. As visual special effect plays an important role in digital film, its narrative space creates a space which is distinguishable from that of analogue film.This can be an example which says a lot for the special aspect of digital narrative.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.263-267
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• 2009

With the increase of weight and influence of TV drama, Many researchers began to publish papers on TV drama. However, Those papers were mainly about social meaning of TV drama and viewing motives and attitudes of TV audience. However, only a few limited papers were about television image production techniques. The purpose of this thesis is to analyse the relationship between TV genre and image production technique with the data of top 100 of TNS Media Korea from the year 2004 to 2008. This paper found out that history drama uses more closeup, longshot, tracking and less waist shot than other genres, with shorter shot duration and longer scene duration.

• The Journal of the Korea Contents Association
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• v.20 no.9
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• pp.604-614
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• 2020

Contemporary Christian educators emphasize that the student has to become not a passive beneficiaries of knowledge, but an active subject for self-directed learner to pursue a Bible training. In addition, learning environments need to be converted into a learning place in which students can learn the principles of the Word, taste its meaning, and apply them into the scene in their lives. This study is to investigate new possibilities of self-directed volunteer camp, developing it as an alternative program for summer retreat and evaluating its effectiveness. According to qualitative research findings. self-directed volunteer camp provide for the youth students to develop their leadership as well as their faith. Especially, the higher effect of self-directed volunteer camp was found on program satisfaction, promoting cooperation through real problem-solving, and internalizing of the faith. Therefore, self-directed volunteer camp for vacation Bible church programs can be expected as an alternative teaching method for church education in the 21st century.

• Journal of Digital Contents Society
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• v.4 no.1
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• pp.11-21
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• 2003

In computer vision, the goal of stereopsis is to determine the surface structure of real world form two or more perspective views of scene. It is similar to human visual system. We can avoid obstacles, recognize objects, and manipulate machine using three-dimensional information. Until recently, only gray-level images have been used as input to computation for depth determination, but the availability of color can further enhance the performance of computational stereopsis. There are many models to provide efficient color system. The simplest model, RGB model treats color as if it were composed of separate entities. Each color channel is processed individually by the same stereopsis module as used in the gray-level model. His Model decouples intensity component from color information. So it can deal with color properties without defect intensity information. Opponent color model is based on human visual system. In this model, the red-green-blue colors are combined into three opponent channels before further processing.

• Journal of Digital Contents Society
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• v.15 no.4
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• pp.449-455
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• 2014

Detection of moving objects is a fundamental task in most of the computer vision applications, such as video surveillance, activity recognition and human motion analysis. This is a difficult task due to many challenges in realistic scenarios which include irregular motion in background, illumination changes, objects cast shadows, changes in scene geometry and noise, etc. In this paper, we propose an foreground extraction algorithm based on codebook, a database of information about background pixel obtained from input image sequence. Initially, we suppose a first frame as a background image and calculate difference between next input image and it to detect moving objects. The resulting difference image may contain noises as well as pure moving objects. Second, we investigate a codebook with color and brightness of a foreground pixel in the difference image. If it is matched, it is decided as a fault detected pixel and deleted from foreground. Finally, a background image is updated to process next input frame iteratively. Some pixels are estimated by input image if they are detected as background pixels. The others are duplicated from the previous background image. We apply out algorithm to PETS2009 data and compare the results with those of GMM and standard codebook algorithms.

• The Journal of the Korea Contents Association
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• v.12 no.12
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• pp.146-155
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• 2012

This study made an attempt to apply and meaningful research of the analysis of the scene with the actual creative work about the contradictory structure and the love of duality appeared in the Shakespeare's "Romeo and Juliet". The researcher set up the meaning of versus (對) between the contradictory structure and the duality of love. So I analyzed the duality of love appeared on the creative performance named "Romiet & Julio zwei Versus". With the Laban's behavior analysis, the analyzing instruments were separated into four parts as the body, the effort, the space and the shape. As a result of the analyzing, the duality of love in the original work was the expression of the artist's pluralistic vision, and dramatic structure of homogeneity rather than the paradoxical contrast. After analyzing a creative work, the duality of love has been proven as an important factor with ultimately a new dimension of absolute balance.