• Cartoon and Animation Studies
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• s.33
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• pp.1-29
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• 2013

Surrealism with the excavation of unconsciousness, seeking for the infinity etc. has established views on aesthetics that conflict traditional western rationalism. The main concern of surrealism is problem of identity and difference. They attempted their own mysterious concept such as 'the marvelous', 'convulsive beauty', 'object chance' etc. These unique views on aesthetics was expressed as various style of art. It is the d$\acute{e}$paysemant that exists one of the typical style in surrealism. D$\acute{e}$paysemant means that objects are taken from be originally place. Therefore, The real world's objects is to leave and change environment from real space as use, ability, meaning of origin. or it is the technique to create surreal illusion that combined to a strange place where relates to extraneous attribute of objects. Namely, objects are newly arranged in expression space. Reconstitutive objects by positioning object over the time and space have given us the marvelous and psychological shock and get unfamiliar meaning and feeling over. This paper is tried to look at the way to use the d$\acute{e}$paysemant which applicated in the media, Especially, focusing on animation. Unlike the other media, animation has its unique artistic characters. First, One of the media characteristics of the animation is creativity images of the hand drawn animation by shooting of frame by frame. The animation image which is created through arrangement obtain life force by unique motility. Works of Norman McLaren and Harry Smith are very interesting that the structural characteristics of the d$\acute{e}$paysemant. It consists with abstract forms and various moving images to let audience the feel characteristics of film. We can experience from these cases, numerous illusion fantasy like change over from creature to inanimate object, space and time, creation and extinction, repetition and metamorphosis etc. One of the main apparat is the emphasis of d$\acute{e}$paysemant in space of frame. In conclusion, d$\acute{e}$paysemant is one of the most characteristic expression technique of surrealism while having inevitable linkage with animation.

• Cartoon and Animation Studies
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• s.33
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• pp.317-341
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• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.

• Cartoon and Animation Studies
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• s.34
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• pp.81-104
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• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.503-535
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• 2010

'Saiee', which could mean between, intra- and inter-, is a crucial topic in theatre as theatre has tension between actor and audience, reality and illusion, and everyday life and extraordinary life. Especially, it is interesting that the function of 'Saiee' is connected to extension and application of drama and theatre such as educational theatre, dramatherapy and applied drama/theatre. Such works are expected to educational or therapeutic effects, thus concern and support, demand and supply of these works is getting increased. However, it is true that researches on spirit, aesthetic and direction of these works are not sufficient, compared to quantitative increase and diversity. This study will explore Boal's Theatre of the Oppressed(TO from the below), which is key theory and technique of applied drama/theatre field with viewpoint of 'Saiee' theatre to look at spirit, aesthetic and direction of this field. Saiee's energy could observe the object with distance(distance), form the relationship with that object(inter) and create new circumstance through that relationship(intra). And Boal's TO tried to Saiee's theatre by using Saiee's dynamics variously. It bases on the phenomenon of metaxis. Boal's TO believes that drama/theatre is unique nature and ability of human being, that is to say, it is based on Homo Theatrum, human plays and does theatre. Therefore, the participant of Boal's TO is extended to everyone in everyday life. This activity is not only individual work to find his/her identity but also solidarity and possibility to change society which they belong to. It is the dynamics of 'Saiee' to make this possible. Boal's TO thinks that relationship and balance between individuality and sociality is important. The way of conversation in Boal's TO includes questioning, listening and communication. Unfamiliarity or distance of 'Saiee' makes interest in other people and question about them. Questioning through theatre and concern on other beings to search for the answer (this is listening), would be new relationship(and possibility) to extend him/herself. The communication and relationship leads to possibility and ability to create another world. This is the function of 'inter-' and 'intra-' in theatre of 'Saiee'. Lastly, it is various that Boal's TO as 'Saiee' theatre uses the dynamics of 'Saiee'. The diversity of technique comes from the application to humans in every moment and every time. To apply 'Saiee's aesthetic actively, concern and research on people 'now and here' should be proceed.

• Cartoon and Animation Studies
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• s.41
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• pp.1-29
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• 2015

This paper aims at studying how to express and be used the characteristics of New age consciousness in the popular culture. New age consciousness is used interchangeably with new age movement. The philosophy of new age is based on humanism, which the infinite potential power of human can change the human himself and the earth forward to be shown the new age of peace, hope and love in an instant. This consciousness is based on the Western secret art and Eastern consciousness against the Christianity and has begun to develop in the alternative religion influenced by Postmodernism and Counterculture movement on 1970's which is against the corruption of American society on 1960's. However, new age consciousness has tried to change to a social movement for the culture, the peace, the happiness of mankind and the healing society rather than a religion idea because of the limitation of the theory itself. Nevertheless, the new age culture contains the characteristics of the religion, and the characteristics has been easily borrowed to the mess media and infiltrated to us. In a broad sense, the religion includes both own religion beliefs and behavior and the social movements and tendencies about the established religion which pursues the holy and the highest value. The religion is valued as a complex culture phenomenon, which the religion presents the right direction and the meaning of life as well as contributes to the maintenance of social order and the social unification. For this reason, the religion and the culture have a deep relationship between mess media and needs to be captured and listen to religious longing lurking deep within the human consciousness in order to give the audience impressed and fun. In the study, the characteristics of New age such as reincarnation, illusion, meditation, monism and pantheism is analyzed for what affects students studying mess media and the popular culture. And then the study is analyzed the characteristics of new age consciousness in the animation through 'Avatar'. This study shed new light on the influence of religion which is ideological identity of popular culture, and I expect to be a little help to have the insight to examine the mess media with a various angles.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.