• Cross-Cultural Studies
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• v.44
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• pp.191-209
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• 2016

This article aims to analyze the perception of Korean-Chinese in South Korea to understand the mentality of South Korean people in a multicultural society through exploring Korean films in which Korean-Chinese characters have been represented since 2000. For this purpose, Korean-Chinese characters represented in Korean Films are divided into male and female. It could be said that South Koreans are biased against Korean-Chinese, who are considered 'others' under the economic and cultural hierarchy. Female characters are presented as 'pure' and 'frail' in the migration narrative while male characters are 'indecent' and 'brutal' individuals in crime narrative films. Meanwhile, Haemoo [Sea fog] is a story about economically weak Koreans and Korean-Chinese who were in economical conflict with each other, but were victims of the economical restructuring systems under neo-liberalism.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.89-90
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• 2014

This paper is the music director Miklos Rozsa participated crime To infer the narrative around two classic movie The study of musical functions. Two films are Double indemnity, 1946 and The Killers, 1948. The main theme was used in the movie Keywords that appear only after analyzing crime scenes film Possible inference of narrative musical expression around the room Examine the law. In the case of a crime movie theme music Indicate the start and development progress, planned steps and proceed only Through the proactive behavior of the system behavior and the final results after the acts To commit a criminal act represents lesson. Music maneu Can be inferred by the narrative of the crime and the crime film To progress in the music scene, and combine with effects The maximum tension over.

• Journal of Korea Multimedia Society
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• v.23 no.2
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• pp.376-382
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• 2020

In the 1970s and 1980s, space installations in films became a new approach to film research. Many film directors and theoretical scholars believe that the space setting in films, other than textual stories, is an important core of film narrative research. Early film scholars have proposed that the film space with sensory narrative mode as the core motive force can promote people's in-depth understanding of the film content. Therefore, many researchers have tried to emphasize the importance of space in films through Hitchcock's films, but have not analyzed the elements and techniques of film space performance in detail. Reviewing the Hitchcock's classic crime film, through the space set in the traditional film, we can discover the movie techniques and concepts related to space. Therefore, this study takes Hitchcock's classic crime film as an example, and through analysis of film space expression techniques, attempts to propose factors for film space creation and bring new spatial perception effects to the audience.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.181-190
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• 2020

Asura: The City of Madness, which was released in 2017, attracted great attention even prior to its release with the combination of Director Kim Sung-su, and actors, Jung Woo-sung, Hwang Jung-min, Ju Ji-hoon and Kwak Do-won. Faithful to its genre as a crime film of film noir, Asura: The City of Madness created multi-layered issues by the overthrow of the archetypal hero character and variation of the heroic narrative structure drew diverse interpretations among both critics and viewers alike. This study aims at analyzing the heroic narrative structure of Asura: The City of Madness based on Christopher Vogler's "The Hero's Journey" and examining how the universality and typicality of narrative structures as mentioned by Vogler are applied to this film. Although the universal and typical characteristics of all narrative structures cannot be analyzed through Christopher Vogler's The Hero's Journey, five atypical characteristics could be derived from this film that deviate from the universality mentioned by Christopher Vogler by looking at the characteristics of the heroic narrative structure implemented as Han Do-kyung, the leading character and a "hero," proceeds through the 12 stages. This study examines which variations such atypical characteristics brought to the heroic narrative structures in crime films what has changed in audiences' expectations, and how it could work as an alternate narrative.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.101-110
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• 2019

Filmic spaces are not only a core expressive factors that can embody both internal and external meanings of films, but also play an important role for initiating dramatic context in terms of narratives. They establish visible environment in which provocative incidents occur and characters' behaviors are induced, include characters' psychology or emotional meanings of narratives and provoke tensions through symbolic meanings and the implicit function of surface background. This paper, therefore, analyzes the film, , by focusing on the dramatic function of narrative space. This film provides insights and thoughts through deep philosophical reflection, by escaping from the convention of such a genre, through deep philosophical reflection, by escaping from the convention of such a genre, though it belongs seemingly to the crime thriller genre using Mexico's drug cartel as it main material. In the film, narrative spaces are responsible for emotions invoking dramatic tensions beyond provocative incidents and the elaborately planned and controlled mise-en-scene absorbed audiences' attention by organizing ultimate suspense. In conclusion, flow and dramatic lingering imagery of this film might be achieved by power of scenes rather than plot factors. This study thus explained the correlation between narrative spaces and dramatic immersion, by analyzing spaces appearing in and visualized construction. It is hoped that this will further extends the pattern of researches on dramatic immersion, which have been primarily focused on plots and characters.

• The Journal of the Convergence on Culture Technology
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• v.6 no.1
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• pp.361-366
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• 2020

The Korean movies, and are suitable for "B-movie" for spending low budget and utilizing subculture factors such as kitsch, parody. Using surrealistic space and arbitrary language is the most prior element in constituting 'B-affection'. In that sense, Behind the Dark Night, Super Margin have characteristics overcrossing the media from comics to film. Despite absurd story, Behind the Dark Night has a realistic and concrete sense of what is the making films. The hero in Super Margin was swindled, so he strikes a blow the breeding-place of crime himself. In conclusion, showing comics characteristic aspects has been increasing comedy effects. But, on the other hand, Behind the Dark Night, Super Margin have pointed out that there are many kind of social problems such like career, fraud etc. In addition, they introspect the meaning what is that to making films.