• Archives of design research
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• v.15 no.4
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• pp.111-120
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• 2002

Folk paintings influence the lifestyle of the general public, and is visible practical communication presenting emotion, feelings and phenomenon through various functions and aesthetic molding specificity. Illustration as a medium for conveying information in modern society is time communication forming time circumstance based on a creative image, becoming an importance in the means of molding an active information society. Folk paintings and illustration express the subject of various kinds of stories of surroundings of daily lives ironically, humorously and symbolically, convey it in an accurate and detailed way in the various use of color and shape representation, and have a similar specificity as the general public's art influencing the society, culture, and environment, the general public's emotion and feelings of that time. The current research is to suggest the possibility and direction of Korean image representation in illustration by analyzing folk painting and illustration characters based on social, cultural function and role and molding specificity.

• (The)Study of the Eastern Classic
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• no.66
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• pp.103-128
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• 2017

Slaves have been investigated around diaries or slave ownership papers of nobilities up to now. While slaves were described in tales or stories on loyal slaves or historic tales, slaves were not sufficiently examined. This paper analyzed the actual awareness on slaves through the description on slaves in Chinese poem. It was generally very difficult to deal with young slaves because young slaves were included in the lowest class without education and not an adult. The fugitive slaves were loss of labor and brought the emotional betrayal. There were spells to make fugitive slaves return. The sense of loss was nearly same in the death of slaves as in the death of family members. The longer the slaves lived with owners, the greater the sense of loss was. However, the difference of awareness on slaves per period was not identified in this paper. It can be identified only by fully examining more data on slaves. It will be the theme of further study.

• Journal of Korea Entertainment Industry Association
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• v.15 no.5
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• pp.33-43
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• 2021

Kakao M and Kakao page have been merged to form contents corporation, Kakao entertainment. Kakao M has 15 contents management agencies and 4 music labels, in addition to movie and drama productions. Kakao Page currently holds IP rights for about 8,500 content stories. This study explores the relationship between M&A for absorptive capacity and content value chain by considering the factors that determine boundary spanning behaviors. Using the Kakao entertainment in-depth case study as the practical lens, research results of this study are suggested. Kakao's effective M&A activities are critical key factor for absorptive capacity in the entertainment industry and has a strong network with advantage assets. Also, as the contents business becomes even more competitive, Kakao need to venture beyond entertainment boundaries to seize creative opportunities. Kakao entertainment with absorptive capacity and boundary spanning behaviors through M&A and contents value chain best qualified for entertainment dominant strategy.

• Korea Science and Art Forum
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• v.24
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• pp.1-13
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• 2016

The aim of this study is to find the reasons of success and failure of digital animations in terms of 'immersion.' For the purpose, the causes of immersion were analyzed through complex comparison about concepts and stories of two animation films with similar size of budget: 'Shrek 2' which ranked number 1 in the box-office of animation and 'Mars Needs Moms' which ranked number 172 in the same category. The complex results showed that immersion becomes bigger with creativity and popularity of the characters' outer concept, diversity and organic of the characters' inner concept, and diversity and consistency of the background. Moreover, gradual arrangement of characters' appearance in the story and increasing number of the characters, and visual changes around the plot heightening with a well-organized passage increase immersion. After all, immersion of digital animation requires developing creative, diverse, and popular concept and arranging and strengthening strategic well-organized plot of parts and the whole. This is the key to convergence it.

• Journal of English Language & Literature
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• v.58 no.5
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• pp.809-837
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• 2012

Philip Roth rejects the narrative unity and singularity of the traditional novel and creates instead a multi-levelled, fragmentary, and repetitive narrative. It is not easy to distinguish fact from fiction in The Plot Against America. As an entertaining and creative work of the postmodern historiographic metafiction, Philip Roth's The Plot Against America interrogates the existence of historically verifiable facts, the validity of authentic and official version of history, and reexamines the narrative conventions of history writing. The aim of this paper is to examine Roth's narrative experiment or 'thought experiment' and to explore the intention of creating alternative history in The Plot Against America. Roth does a 'thought experiment' in The Plot Against America. In this cautionary "what if" political fable, Roth hypothesizes that in 1940 aviation hero Charles Lindbergh, an ardent isolationist who was sympathetic to Hiltler, won the presidency. Jewish communities are stunned and terrified as America flirts with fascism and anti-semitism. Reimagining his children-with considerable fact mixed in with the fiction-Roth narrates an alternative history that has an unsettling plausibility. Roth has constructed a brilliantly telling and disturbing historical prism by which to refract the American psyche as it pertain to the discord of individual, race, history in The Plot Against America. Roth analyzes the life of individual in a historic space, the situation of anti-semitism in world of invisible order, racial conflict between black and white in world of visible order, and the darkest side of national power in this work. Roth's stories argue for the equality of various cultures grounded on the common notion of humanity, for an ethic of mutual respect, and for the peaceful resolution of conflicts.

• Cartoon and Animation Studies
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• s.28
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• pp.27-53
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• 2012

American superhero comics are being produced in numerous different forms for multiple, and cross-platform media. In cinema, films based on superhero comics top the list of all time box office records. The same phenomenon of the 'Invasion of Superhero' is duplicated in Korean box office 2012, however, the korean fans are not familiar with the superheroes from the publication which provides the original source of characters and stories for other superhero related media products. Based on observing the multiple and vastness of world building characteristics of superhero comic, this paper attempts to associate the continuous creative nature and the infinite repetition of superheroes and comic texts with the identity of superhero on ontological level. First, chapter 2 examines how one superhero exists in multiple and different worlds individually by utilizing the concept of 'multi-universe' or 'multiverse' in comic texts. Initially, duplicating a superhero on multiple settings and series destroyed continuity and allowed contradiction and paradox confused narrative as a whole, but it also gave chances for comics to be more vibrant and experimental with their stories and characters. Chapter 3 analyzes the superhero comic texts in the light of repetition, concept developed by french philosopher Gilles Deleuze, and make the argument that the superheroes and texts are not repeated to generate surplus of source for economic utilitarian purposes, but it is, first and foremost, a repetition of creativeness and capability. Many concepts introduced by Deleuze in his early masterpiece, $\acute{e}$rence et R$\acute{e}$p$\acute{e}$tition> are taken to support this argument. Mainly, his critical views on generality of the identity and his effort to replace the Plato's system of representation with vibrant creative, and renewal energy of r$\acute{e}$p$\acute{e}$tition. According to Deleuze, repetition is similar concept, if not identical, to what Nietzsche called the 'eternal return' which allows the return of the Overhuman or the Superhuman, and he extends his idea that the returning Overhuman is the singular simulacre which opposes the generalization of identity, in the likes of Plato's Idea. Thus, the superhero's identity is ever changing, ever returning, and ever renewing Overhuman. The superhero must be repeated to fully actualize his/her existence. Also, based on Deleuze's reading of Bergson's texts on the Virtual, the superhero, for example Superman, is actualization of his/her multiplisit$\acute{e}$, the internally multiple, and differentiated variations from itself. These every Supermans' multiplisit$\acute{e}$ shares common memory, past, and duration, thus the Virtual of Superman. Superman becomes himself only by actualizing the movement and differentiation from these multiplisit$\acute{e}$ in his virtual on the surface of reality. On chapter 4, a popular Korean comic book character Oh, Hae-Sung's r$\acute{e}$p$\acute{e}$tition and multiplist$\acute{e}$ are analyzed, and makes comparison to that of Superman to distinguish the repetition from r$\acute{e}$p$\acute{e}$tition, and multiplicit$\acute{e}$ from diversity.

• Korean Journal of Child Education & Care
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• v.17 no.4
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• pp.233-258
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• 2017

Although listening to music is the most basic musical experience that is ahead of all the other musical activities, it tends to be neglected due to lack of awareness and difficult teaching methods. This study is to compose integrative music appreciation by reflecting thoughts of children, draw children's attention to listening to music, and let them to discover and create musical concept and structures by themselves, accompanied by related activities through which children can express their thoughts and feelings with children's poem. Considering the peculiarities of three-four year-olds, it may be difficult for them to create poems individually, so we let them to write poems through small group discussion in which they can share their opinions and observe their peers' reaction. We provided a teaching method to teachers who find activities of listening to music and writing poems difficult, then we analyzed the effect. When children finished writing poems in small groups through integrative music appreciation reflecting their thoughts, they placed greater weight on preparing to listen to music at first, but going through the program, they discovered musical concepts and became active in music appreciation. In the related activity, writing poems inspired them to think creatively, listening to their peer's stories. Even children who were not interested in children's poem showed higher participation. Teachers found children's creative words to be interesting, discovering the joy of creation.

• Cartoon and Animation Studies
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• s.37
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• pp.267-286
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• 2014

Yeon Sang-Ho's Animation occupies an exceptional place in Korean Animation, being categorized as the kind of realism representing the pitiable actuality rather than the liberal and creative imagination. His animation appreciated as 'stories much more real than the reality' mainly depicts the world of 'the others' who resides on the periphery of the society in a rough and straightforward way. Yeon Sang-Ho's Animation represents the emotions and desire of characters as well as the heartless real world refusing the fantasy, through which it reflects the portraits of people living in post-capitalistic era seen from the microscopic view. This article investigates the textual characteristics, defining his animation as the Brutal history of 'The Others'. Two conditions which constitute the actual world in his works are the absurd social system and the characters who are afflicted with the trauma, belonging to the lower classes. Therefore, the landscape of real life which contains vicious victim, corrupted monster and being as 'homo sacer' looks like a painting of hell. Yeon Sang-Ho's Animation summons the shadow of ourselves which has been negated or neglected through the figure of 'the others' produced in post-capitalistic era and exposes our bare face and the uncomfortable truth by displaying the affected area of out society plainly. Furthermore, his works demonstrate the possibility of Korean animation as a representational language of facing the reality and searching for the truth.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.178-185
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• 2011

The recent development of 3D and its application contents have made it possible for people to experience more various 3D contents such as 3D/4D, VR, 3D ride film, I-max, sensory 3D games at theme parks, large-scale exhibitions, 4D cinemas and Video ride. Among them, Video ride, a motion-based genre, especially is getting more popularity, where viewers are immersed in and get indirect experiences in virtual reality. In this study, the production process of the genre of sensory 3D image getting attention recently and ride film are introduced. In the material selection of 3D images, the space and the setting up which is suitable to the fierce movement of rides are studied and some examples of the realization of creative direction ideas and effective technologies using the functions of Stereo Camera which has been first applied to MAYA 2009 are also illustrated. When experts in this 3D image production create more interesting stories with the cultural diversity and introduce enhanced 3D production techniques for excellent contents, domestic relevant companies will be sufficiently able to compete with their foreign counterparts and further establish their successfully unique and strong domains in the image contents sector.

• Trans-
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• v.1
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• pp.45-66
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• 2016

The study uses the image technique of the movie (analysis) since there are limited analyses and data of the dance film's (cinematic) grammar. The films are limited to the Wim Vandekeybus's Blush. From the analysis of the one film, films are directed using basic movie grammars. Although the films are of the same genre, it differs from the method of using image techniques as well as the director's personal art preference. The cinematic grammars enhance the effect of the movement and it emphasizes the objectives to deliver the audience true meaning of the films. Dance film is not a simple word combination of dance and film to record new type of art; dance is used for the movie's artistic and aesthetic enhancement. To find out dance is the language and important expressive tool of the dance film, at the same time cinematic grammar enhances effect of dance and objective of the film, the study uses image technique analysis. These are the results of dance film analysis by using image techniques. Firstly, Dance film can transcend time and space. Secondly, The creative director could emphasize some part that the audience should focus on to clearly deliver the intention of the choreographer. Lastly, To popularize the dance genre. If the dance film produces with more diversified stories than the resent, it will be a part of a cultural industry and could create profits. Dance film might lose the sense of realism, which is the main characteristic of the stage art; however it could feel the beauty of the film through the mise en scene.