• Architectural research
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• v.20 no.2
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• pp.35-43
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• 2018

This article explores the complex modes of experiencing the modern city that are engaging and disengaging by nature, which thus negates any simple ways of understanding what it means by 'the urban' in a Manichean comparison. What follows is an in-depth case study of Gordon Matta-Clark's 1976 film titled City Slivers. Influenced by the countercultural practices prevalent in the 1960s and 1970s, Matta-Clark produced a number of works roughly grouped together under the rubric of "building cuts." Among many others, City Slivers is distinctive among Matta-Clark's extensive cutting projects, in the sense that he actively utilizes film as a primary expressive medium and poetically reassembles fragmentary images of cityscape in order to bring forth an alternative urban scenario where the tension between institution-bound urbanization and dispersed daily urban practices is highlighted. Instead of simply being critical against the changing urban conditions of Manhattan in the 1970s, Matta-Clark aims to actively grasp ambivalent instances of urban life that are at once attractive and alienating, thereby excavating the subconscious terrain of contemporary urbanism that is prevalent but often dismissed over glamorous urban projects.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.1-12
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• 2019

Based on the capabilities of smartphone cameras which have developed rapidly in recent decades, coupled with and the global market penetration rate, it will study the possibility of various international exchanges through smartphone filmmaking. This aims to achieve a civilian-oriented cultural exchange, instead of simply providing capital-oriented exchanges and film production education. The Smartphone Film Workshop was held as an auxiliary event of the Korea-Vietnam Film Festival, which ran from November 17 to 22, 2017. The three-day workshop, which took place within the festival period, drew attention for its international collaboration project between Korean film directors and Vietnamese film students. The researcher conducted practical-based research while participating as a mentor at this workshop. A step-by-step approach to the entire process of production and post-production was administered, including workshop team composition, scenario, and pre-production in Korea such as shooting equipment, schedule, completion of local works, and screening. Through an analysis of exchange cases at international workshops, we will use trial and error as ways to improve and consider the results of cultural exchanges and the effects of future expectations. Taking this empirical case study into account, we anticipate more active international exchanges through the smartphone workshops.

• Trans-
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• v.2
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• pp.75-94
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• 2017

The film director is the responsible for artistic quality of the film. In Hollywood, the director considered as a technician only visualizes the given scenario. In the 1950s, young critics of the Cahiers du cinéma, who were at the center of Nouvelle Vague, re-qualified some Hollywood directors, for example Alfred Hitchcock, Howard Hawks and John Ford. They are considered "auteurs(authors)" because their films have their own styles. In France, the word "auteur-directoir" is often used in the film production. It refers to the person who writes the original screenplay of a movie. Auteur's legal definition of copyright is set out in Article L.111-1 of the Intellectual Property Code: "the auteur of a work of the mind enjoys the work by reason only of its creation, of an exclusive intangible property right and opposable to all. On the other hand, in the definition of producer, it is the natural or legal person who takes the initiative and responsibility for the realization of the work according to Article L. 132-23 of the same code. We study here the competence and responsibility of the French director as an "auteur" by consulting the two types of contract: director-technician and author-director. We rant to offer a reflection on the position of the film director and the relationship between the director and the producer.

• The Journal of the Korea Contents Association
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• v.18 no.2
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• pp.57-72
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• 2018

Choi Dong-hoon's films tend to have not been well treated academically in Korea. But from the point of view that his works have succeeded in box office and survived in the market for some reason, there seems to be new possibilities to treat them. In this paper, the two movies with ten million audiences, and that are Choi's original scenario and caper film genre are tried to examine the success factors in box office on "making well made story". Often, well-made films have both genre-customary and creative aspects. Choi Dong-hoon's movies are the same. and faithfully follow the rules of caper film genre. At the same time, these two films have complex adaptive systematic creativity, in which multiple characters are self-organizing with their story patterns actively. And since there is a proper coexistence of customary and original aspects in the and , these two films are seemed to be at the edge of the chaos, which is the most market adaptable.

• Journal of Digital Convergence
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• v.18 no.10
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• pp.409-418
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• 2020

The study focused on Jean-Luc Godard's about the relationship between visual effects and psychoanalysis of the film. Godar set up an interpreter for communication between the scenario adaptors and producers, producers and directors, producers and interpreters, and assistants in However, the role of an interpreter is based on the premise that although there is an interpreter, accurate communication is impossible. Such a break in communication is used as a strategy to clearly clarify Godar's own direction while revealing the difficulties of filmmaking as the gap between the two sides in filmmaking becomes clear. Based on Freud's theory of psychoanalysis, the meaning of the study is to analyze Jean-Luc Godard's relationship with filmmakers, directors, writers, actors and how the director visually reproduces the conflict among the invisible participants in the film.

• Journal of the Institute of Electronics and Information Engineers
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• v.52 no.4
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• pp.164-174
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• 2015

In a real scenario, radiometric change has frequently occurred in the stereo image acquisition process using multiple cameras with geometric characteristics or moving a single camera because it has different camera parameters and illumination change. Conventional stereo matching algorithms have a difficulty in finding correct corresponding points because it is assumed that corresponding pixels have similar color values. In this paper, we present a new method based on the local descriptor reflecting intensity, gradient and texture information. Furthermore, an adaptive weight for local descriptor based on the entropy is applied to estimate correct corresponding points under radiometric variation. The proposed method is tested on Middlebury datasets with radiometric changes, and compared with state-of-the-art algorithms. Experimental result shows that the proposed scheme outperforms other comparison algorithms around 5% less matching error on average.

• 제어로봇시스템학회:학술대회논문집
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• 2004.08a
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• pp.1195-1200
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• 2004

We introduce an introductory engineering education course for engineering majors and non-engineering majors. This course does not require any previous knowledge and experience on engineering. It requires strong curiosities and imaginations on current and future society we live in, where technology is inseparable ingredient. Course encourages attendees to explore fundamental issues of engineering: what is proper technology and what are proper ways of exercising engineering, issues dealt in soft engineering. Since course topics cover many aspects of technology, traditional learning methods fail to be successful and efficient. Various efficient learning methods have been proposed and implemented. We utilize various interactive tangible media, which include simulated thought experiments and physical media experiences. About 20 episodes in short film format are produced based on scenario written according to related issues selected. Physical media like interactive robots are introduced for attendees' stimulated experiences. We summarize our exciting experiments on interactive teaching experiences at Pusan National University which include on/off-line interactions, assignments, projects, and evaluations.