• Proceedings of the Korea Information Processing Society Conference
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• 2016.10a
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• pp.514-517
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• 2016

동영상이나 게임에서 2차원적인 시야를 제공해주는 물건(컴퓨터,TV,스크린 등)이나 입체감을 주기위한 3D기술을 사용하여 보는 것에 만족하던 시대가 가고 VR(Virtual Reality)이 등장함으로 인해서 사람들이 점점 가상현실에 대한 환상을 가지고 있다. 본 연구에서는 많은 관심을 받는 VR과 동영상 Converter기술을 합쳐 공포 게임을 만들어 보며, 일반적인 공포 영상이 VR과 접목되면서 가져올 감정변화가 사람들의 관심을 끌 수 있음을 보이고자 한다.

• Fashion & Textile Research Journal
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• v.10 no.6
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• pp.827-835
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• 2008

The purpose of this paper is to clarify the aesthetic characteristics of splatter films' make-up. Splatter films are one of horror movies that consist of gore and excessive violence. These represent the cruelty with the victims' physical damages made by special effect make-up. Splatter make-up is classified into the trickle of blood, the cutting of body, and the exposure of the inner parts of body, and changes a fake into a fact with reality. The aesthetic characteristics of splatter make-up were shown in the uncanny, the abjection and the irony. The uncanny which is strange and displeasure feeling is presented by the fragmentation of body, and the living of nonliving thing. The abjection means humble image, and the concept of border or ambiguity. The former is expressed by the matters of body's secretion and excretion. The latter is shown by the use of blood(the life and death) and corpses(the human and inhuman), and animatronics(the human and instruments). The irony which is a sense of humor caused by conflict between external appearance and reality. This is represented by comics induced by discord between excessive violence and make-up tricks, and the brutality and the weakness.

• Proceedings of the Korea Information Processing Society Conference
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• 2019.10a
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• pp.931-934
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• 2019

Research using artificial intelligence to generate captions for an image has been studied extensively. However, these systems are unable to create creative stories that include more than one sentence based on image content. A story is a better way that humans use to foster social cooperation and develop social norms. This paper proposes a framework that can generate a relatively short story to describe based on the context of an image. The main contributions of this paper are (1) An unsupervised framework which uses recurrent neural network structure and encoder-decoder model to construct a short story for an image. (2) A huge English novel dataset, including horror and romantic themes that are manually collected and validated. By investigating the short stories, the proposed model proves that it can generate more creative contents compared to existing intelligent systems which can produce only one concise sentence. Therefore, the framework demonstrated in this work will trigger the research of a more robust AI story writer and encourages the application of the proposed model in helping story writer find a new idea.

• Journal of English Language & Literature
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• v.58 no.2
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• pp.347-378
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• 2012

Holocaust fiction has always raised the moral and aesthetic questions about the nature of mimesis and the literary representation of atrocity. The Holocaust, defying any representation of it, has been considered as unspeakable, unknowable, and incomprehensible. This essay aims to explore Martin Amis's narrative strategies in Time's Arrow to conduct the difficult tasks of re-creating the primal scene and of discovering a moral reality behind the Holocaust. One of the major narrative experiments in Time's Arrow is the time reversal: the story moves from the present of phony innocence to the past of unrelieved horror. Reversing the temporal order of events reverses causality and generates the revision of the morality, ultimately creating the epistemological and ontological uncertainties. Amis's novel is also narrated from the perspective of a double persona of the protagonist who, as a Nazi doctor, participated in the massacre in Auschwitz and then fled to the United States following the war. As almost a self-conscious storyteller, the narrator shares a sense of retrospective guilt with the reader who finally realizes that the Holocaust was a world turned upside down morally. Amis's postmodern narrative strategies are unusual enough to warrant a new way of representing the Holocaust.

• Journal of English Language & Literature
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• v.55 no.6
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• pp.1123-1137
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• 2009

Revisiting the horror of slave mutiny in nineteenth century America via Julia Kristeva's concept of abject, this essay examines abject fear in Amasa Delano and Babo's subversive act to deceive Delano in Herman Melville's "Benito Cereno." Babo, the slave, exercises subversive power, thereby reversing racial hierarchy aboard the slave ship-the San Dominick. Babo's ability to mimic and control racial stereotypes exposes how nineteenth-century racial hierarchy was only a social fiction, which becomes the very source of Delano's fear. Delano's dread belies upon the possible disruption of social order triggered by Babo'sblack rebellion. In order to repress his fear, Delano consciously and unconsciously attempts to re-inscribe white dominion and reaffirm black inferiority and stereotypes by means of rationalizing the disturbing signs he witnesses on the San Dominick. When Delano discovers the realsituation of the ship, he must relinquish the abject resonance that disturbs the previous racial order. Employing a legal document, Delano re-inscribes the official position of the blacks as slaves, defining them as violent savages, and thereby silences Babo. However, Melville's text is not a testament to white power. "Benito Cereno" actually endorses abject instability to challenge racial hierarchies through the poignant image of Babo's dead gaze in the last scene of the novella. Thus, "Benito Cereno" exemplifies the recurring power of abject as a threat to social hierarchy and as a constant reminder of the falsity and insecurity of a social order.

• International Journal of Computer Science & Network Security
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• v.22 no.6
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• pp.13-18
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• 2022

Mankind has been living in the third millennium of a new era for 15 years. Today he realized that he was on a tiny planet with not much space. The 20th century laid bare its global consequences in all its horror.. According to the Stockholm International Peace Research Institute, more than 30 armed conflicts are recorded on the planet every year, leading to the death of more than 1,000 people during the year. Over the past 15 years, the total number of deaths as a result of military actions in such conflicts has also increased: more than 17 thousand people - in 2002 to more than 22.5 thousand - in 2011. 2022, in turn, became the beginning of a new round of military history, bringing changes in the social, environmental, agro-industrial, economic and other spheres not only in Ukraine, but also in all countries of the civilized world. As a result of the study, the most significant impact of the negative factors of the war, namely the economic, legal, regional and environmental aspects, was identified and analyzed.

• The Journal of the Convergence on Culture Technology
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• v.9 no.2
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• pp.245-250
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• 2023

This article aims to analyze <Into the Mirror> and its remake version <Mirros>. Both feature the discrepancy between one and reflected image on mirror, which was a trend in the early 21th century. Although their backdrops and plots are similar, there are significant differences in motivation and others. Following the tradition of grievance redressing tale, it combines social criticism with the concept of encouraging good and punishing evil. Foregrounding the evil force of ghost through mirrors, <Mirrors> follows the Western tradition of horror movies. This remake exemplifies a way of reinterpreting and recreating an East-based narrative from a Western viewpoint where Christianity predominates.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.87-94
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• 2019

South Korean films narrate exquisitely, express emotions implicitly and employ magnificent images, exemplifying unique oriental aesthetics. This paper takes Along with the Gods: The Two Worlds (2017) as an example to analyze the meaning of oriental aesthetics in South Korean films using the Film Narrative Theory. It is a fantasy blockbuster depicting family kinship stories. It structures with the familiar karma and reincarnation of Asian Buddhism with the core of family kinship. Perfectly interpreting the fantasy world of hell with stunning movie effects, it shows the family kinship of families under the main plot line of a horror film.

• Journal of Families and Better Life
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• v.34 no.4
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• pp.89-109
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• 2016

The purposes of this study were to analyze and understand the life of mothers rearing children with Down syndrome and to present basic data for overcoming the difficulties of those families. For these purposes, this study made use of the phenomenological analysis and approach with a qualitative research method. The subjects of this study are 4 mothers rearing children with Down syndrome who are beyond school age. The results were as follows. First, the reason why mothers with Down syndrome children went through psychological shock and horror was the social stigma due to the unusual appearance of children with Down syndrome. Second, the isolation with in the public education system was disclosed as a factor causing much sorrow and pain. Through this, we can recognize the importance of ensuring the equal right to receive education of children with Down syndrome. Third, the period which the mother experienced most shock and confusion was right after finding out about the disability that her child has. So, we can identify the importance of early intervention providing psychotherapy and rearing service to the parents. Fourth, the crucial factor that relieved pain and pressure from mothers was social support including family. Therefore, the social support system for mothers with Down syndrome children has to be developed and strengthened. Fifth, the crucial factor that made mother grow up during rearing experience was the reestablishment of cognition about the desired role of mothers. Through this, we can identify the importance of the mental transition process to independent thinking.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.75-86
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• 2018

Desktop Documentary is a new documentary mode which uses a screen capture technology to complete the multitasking process of the creator who searches in the Internet Open Archive instead of shooting with a camera and remixes the selected multimedia contents using a computer interface. In this paper, we explore the desktop documentary that transforms potential archives into database narratives in the new media environment, converts cinematic mise-en-$sc{\grave{e}}ne$ into computational mise-en-interface, and transcends the boundaries between creation and criticism through creative mechanism as curation through stream of consciousness. We also examine the concept, type and characteristics of the desktop documentary which emerges since 2010s as an experimental attempt of new media art, a new hybrid genre of mainstream horror film, a new mode of fiction film, a new mockumentary style, and a new form of video essay and audiovisual critique.