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The Characteristics of Hybrid Visual Direction of Musical Animation Film -Focusing on - (뮤지컬 애니메이션 영화의 혼성적 영상연출 특성 -<겨울왕국, 2013>을 중심으로-)

  • Lee, Hae-Ra;Lee, Hyun-Seok
    • The Journal of the Korea Contents Association
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    • v.15 no.12
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    • pp.50-60
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    • 2015
  • The animation film , which became a worldwide sensation with its theme song 'Let it go', did not only rank first in the U.S. box office - it was also the greatest box office hit in the history of Disney animation. Why did , recreated into a musical animation, become a worldwide success and what were the characteristics of its materialized hybrid visual direction technique? In order to look into this, firstly, literature on musicals and animations were studied, and secondly, analysis standards were drawn for musical characteristics of musicals and direction techniques of animations. Thirdly, analyzation and investigation will be conducted on hybrid visual direction techniques based on the research above with as the example. Through this study, it's known that realizes its musical features such as 'exaggerated acting,' 'delivering the meaning of circumstances', 'dramatic expression of emotion' and etc. through animated characters and that its background music is aided by 'narrative features' through its musical composition. Besides, its snow effect through animated VFX composing scenes along with its musical characteristics realizes hybrid image direction. It can be said that image directing effects of musical animations through hybrid grafting and the characteristics of image aesthetics generate public demands worldwide.

A study on direction expression of time and space in film and - Focusing on Gilles Deleuze theory and intermediality theory-

  • Lim, Yong-Seob
    • Cartoon and Animation Studies
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    • s.48
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    • pp.141-172
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    • 2017
  • The film (2000) and (2016) are based on different time slips from each other. However, these two films have many common elements that make one illusion-based illusion. In the common elements, the main characters (being and thing) are traversed at different times and directed as a cyclical one. Also, among these, the movement link of the time and space has a commonality that it becomes possible through a medium ( - radio, you, there - pill). As a result, a series of scenes expressed in showed that the scene of produced in 2000 was greatly circulated. The reason why two movies have similar structure is that the basic framework of video media based on time slip is similar. Therefore, the purpose of this study is not to analyze the problem of quoting and borrowing of two films as mentioned in the paper. To add up, the material of video media is manifold which is a dynamic object of potential which is unlimited and opened, and by rearranging one media it can be created by escaping from one territory. Also, it is a study of analysis to contribute to producer or researcher as a time slip video creation reference connecting times based on the manifold arrangement from two films.

A Finger Counting Method for Gesture Recognition (제스처 인식을 위한 손가락 개수 인식 방법)

  • Lee, DoYeob;Shin, DongKyoo;Shin, DongIl
    • Journal of Internet Computing and Services
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    • v.17 no.2
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    • pp.29-37
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    • 2016
  • Humans develop and maintain relationship through communication. Communication is largely divided into verbal communication and non-verbal communication. Verbal communication involves the use of a language or characters, while non-verbal communication utilizes body language. We use gestures with language together in conversations of everyday life. Gestures belong to non-verbal communication, and can be offered using a variety of shapes and movements to deliver an opinion. For this reason, gestures are spotlighted as a means of implementing an NUI/NUX in the fields of HCI and HRI. In this paper, using Kinect and the geometric features of the hand, we propose a method for recognizing the number of fingers and detecting the hand area. A Kinect depth image can be used to detect the hand region, with the finger number identified by comparing the distance of outline and the central point of a hand. Average recognition rate for recognizing the number of fingers is 98.5%, from the proposed method, The proposed method would help enhancing the functionality of the human computer interaction by increasing the expression range of gestures.

An Semiotic analysis on Spirited Away (애니메이션(센과 치히로의 행방불명)에 대한 기호학적분석)

  • Lee Yun-Hui
    • Broadcasting and Media Magazine
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    • v.10 no.1
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    • pp.99-112
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    • 2005
  • Christian Metz, the precursor of cine-semiology, considered cinema as a language in the sense that it is a set of messages grounded in a given matter of expression, and a signifying practice characterized by specific codifications. According to Metz, film forms a structured network produced by the interweaving of cinematic codes, within which cinematic subcodes represent specific usages of the particular code. For Metz, cinematic language is a totality of cinematic codes and subcodes, and history of the cinema is the trace of the competition, incorporations and exclusions of the subcodes. He also suggested a filmic text is not just a list of codes in effect, but a process of constant displacement and deformation of codes. Following Metz' textual analysis methodology, I investigated the formal configuration of Hayao Miyazaki‘s animation, Spirited Away. It is interesting to trace the interweaving of cinematic codes in Spirited Away, i.e. codes of lighting, color, movement, and auteurism, across the animation. I focused on the first scene at the bridge to Yubaba's bathhouse, analyzing each cinematic code and its subcode applied. The first bridge scene is carefully constructed to stand out the confrontation of Chihiro (with Haku) and the bathhouse. The bathhouse is not just a building, it represents the powerful witch, Yubaba, yet to appear on the scene, and functions as an antipode to Chihiro. In each shot, every subcode within the codes of framing, direction, angle, color, lighting and movement is used to maximize the contrast between the dominant bathhouse and the feeble 10-year-old girl. In Spirited Away, the subcodes within each cinematic ode are constantly competing and displacing each other to augment the antithesis between the characters and develop the narrative. As Metz's argument that film constitutes a quasi-linguistic practice as a pluricodic medium, Spirited Away communicates with the spectators with the combination and displacement of these cinematic codes and subcodes.

The Expression of Divinity and Humanity of Christ through His Body and Clothes in the Medieval Paintings, Transfiguration (중세 '변형' 도상에 나타난 그리스도의 신성과 인성)

  • Choi, Sun Young
    • The Journal of the Korea Contents Association
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    • v.18 no.1
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    • pp.359-369
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    • 2018
  • When expressing Christ visually in the medieval Christian painting, the most important issue was how to express the divinity as Son of God and the humanity as attribute of human in a balanced manner. The purpose of the study is to examine both formative and symbolic characters of divinity and humanity on the Christ's body and clothes in the Medieval paintings, Transfiguration of Christ. In the paintings, Christ's body is definite evidence to show both his divinity and humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the Transfiguration of Christ were as follows: Blue, gold, purple, white and bleaching effect are the emblem of divinity, and red and color contrast effect with a high chroma stand for humanity of Christ. In addition, unstructured wrinkles of clothes reveal Christ's divinity, on the other hand, structured drapery shows his humanity through emphasizing volume of the body. Finally, divinity of Christ is shown on the gold clavus and red clavus intensify his humanity. Medieval Christian paintings are products planned out to express Christ's dual nature. There is a significance that the paintings represent the profession of painter's faith and the dogma of the era. Furthermore, they suggest the importance of the image to deliver the abstract concepts by visualizing.

The study of Internal Meaning of Mise-en-Scène in Realism Movie -How Hong Sang-Su Handles His Realism with Ordinary Life- (리얼리즘 미학에 나타난 미장셴의 내적 의미 연구 -홍상수 영화의 일상과 리얼리즘 중심으로-)

  • Jin, Seung-Hyun
    • The Journal of the Korea Contents Association
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    • v.15 no.2
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    • pp.130-138
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    • 2015
  • Korean movies with a great variety of styles have recently succeeded in drawing people's attention Rule number one is "the more entertainment, the more audiences". On the top of box offices are always the movies that have a number of spectacular scenes, pounding sounds and big budget characters. Hong Sang Su movies, however, receive attention from the public without above noted descriptions. One of his effective methods of expression is "realism" He has illustrated the trivial episodes with his own wits and ways. Not only has his style become famous and popular but he has many followers. He enjoys using ordinary emotion and sentiment that are likely to happen to everyone. This paper uses two tools. One is the traditional analysis of realism. The other is how he can approach the public meaningfully by listing common elements he frequently uses in his movies. Nevertheless, we can't fully understand his realism by explaining how he shows our everyday life and how much his movie looks like it. Though admitting there are so many preceding papers on his works but this paper will try to look deep into his realism through the analysis of Mise-en-Sc$\grave{e}$ne.

Visual Image of a Yangbanxi (Chinese "Model Play") Dating from the Cultural Revolution Period in China - With the Focus on Images of Revolutionary Heroes in the Beijing Opera The Red Lantern (중국 문혁기 모범극(樣板戱)의 시각이미지 - <홍등기(紅燈記)>의 혁명영웅상을 중심으로)

  • Moon, Jung-Hee
    • The Journal of Art Theory & Practice
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    • no.5
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    • pp.197-215
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    • 2007
  • Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

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A Study on Image Representation of Bisexual Lighting (바이섹슈얼 라이팅(Bisexual Lighting)의 영상 표현 연구)

  • QIAO, YINA
    • Trans-
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    • v.11
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    • pp.119-142
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    • 2021
  • Video was a cultural practice based on image. The audience longs to experience new things, not everyday things through by video images. There are many components of the image, but among them, color, a visual representation, plays a big role. Since the advent of color films, color has constantly evolved as an important component of visual art and has become an important role in innovative visual art design. According to film history data, filmmakers were interested in color since the film was created in 1895, but in the early stages of film development, film colors were only black and white. Because these two colors no longer satisfy viewers, more natural colors began to emerge from the film as it was colored. However, with the development of historical paintings, the lack of artistic creation and the public's level increased, making people more active in using colors because simple reproduction of natural colors alone does not satisfy people. The colors in the video are both techniques of expression and can be understood by mind and thought. It is also an indication that colors do not just exist, but they work strongly on human psychology. Now people are so motivated by repetitive and unimportant information that they find that the human intuitive system simplifies the information they receive unconsciously that they have certain customs and characteristics when they see things. Color is part of the film language, or color language can express the film's ideological themes or portray vivid characters in the film, and people are receiving more intuitive messages. This study analyzed the basic color components of bisexual lighting, namely, pink, blue, and purple, and analyzed how human psychology is affected through color, combining the scenes from the video. The purpose of this paper is to explore what color language bisexual lighting is expressed using color properties in images and how bisexual lighting interacts with human psychology through color.

Educational Aesthetic Characteristics of Chinese Kangba Tibetan Opera Performing Arts (중국 캉바 가극 공연예술의 교육 심미적 특징)

  • Wang, Shuai
    • Journal of Korea Entertainment Industry Association
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    • v.15 no.3
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    • pp.211-219
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    • 2021
  • Chinese Tibetan Opera is a highly comprehensive drama type, which combines the educational aesthetic characteristics of the realism of Western drama and the freehand of Chinese opera, including mask play, square play, ritual play and religious play. Tibetan opera, as a kind of local drama, has high research value, which is determined by its educational aesthetic characteristics. The world's three major dramas include Sanskrit dramas in India, tragic-comedies in ancient Greece and Chinese dramas, which have different forms of expression and educational aesthetic characteristics. Because of the particularity of its birthplace, Tibetan Opera inherits some of the three forms of the above three dramas. Ancient Greek tragedies originate from the sacrificial ritual of the god of wine. In the early ceremonial action performances, the actors were all men and needed to wear masks to perform. In Tibetan opera, men also play a role in masks, which are originated from the folk totem dance and religious pantomime music and dance. Due to the long history of Indian Sanskrit drama, except for the relevant records in dance theory, the specific performance form can not be verified. However, according to the relevant records in dance theory, the three characters "Wenba", "Jialu" and "Lamu" in the opening play of Tibetan opera are similar to the "concept character play" in Sanskrit opera. Tibetan Opera is a very important part of traditional Chinese opera, which inherits the educational aesthetic characteristics of Chinese opera.

Flower Arrangement Study of Pine : Focusing on Pine Gracious Flower (소나무(松)의 화예적(華藝的) 고찰(考察) -송(松)의 문인화(文人花)를 중심(中心)으로-)

  • Kim, Jeong Min
    • Journal of the Korean Society of Floral Art and Design
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    • no.42
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    • pp.63-96
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    • 2020
  • The flower arrangement that human beings interact with the natural plants have characteristics according to their historical background and ethnicity and different aspects of culture related of the flower arrangements have been created by human inspiration and formative ability. The Korean flower arrangement is a product of civilization which originated in the natural environment of the four seasons. As background with the natural unity ideology, the Korean Flower Arrangement makes the life and philosophy of the naturalistic nature that flows in the mind of our nation to the relaxing beauty suited on cultures of ages by the Virtue, the Will, and the Vitality. The Literary Flower Arrangement is, based on the higher human personality and poetic sentiments as ideologies of our traditional oriental philosophy, the formative art made for aesthetic implications of philosophy by consisting plants' characters and tastes without expression of technical skills. In this study, focused on pine tree, in order to clarify that the flower arrangement of our spiritual culture is the Literary Flower Arrangement, make Identifying aesthetic characteristics through, the backgrounds and sources of being expressed by the Literary Flower Arrangement, poetic feelings, symbolism, metaphor, the formative form of flower arrangement, decoding of the flower arrangement genes, and the same time deduce the record of literary work and classify it each era, and establish the Literary Flower Arrangement theory which is the essence of Korean flower arrangement.