• Journal of Science of Art and Design
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• v.11
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• pp.51-78
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• 2007

Entertainment Industry is a high value-added business and its market includes the whole world. With high-tech industry, it is said that entertainment industry strengthen country's competitiveness, and the Korean government is trying to find a way to develop the animation industry. Some domestic feature animations were made, but they failed to get sufficient audiences. Meanwhile, Shrek 2, made by PDI, has earned about 92,000,000,000$ through just theatrical revenue. The reason is that domestic animations are not exciting. Contents should have amusement in it. The humor is the most important thing to make fun. So this thesis suggest to analyse Humor Types in animations. It is based on several theories about Humor. The types of humor defined by the previous studies are summarized into (1) humor, (2) wit, (3) satire and (4) irony. I categorize the productive methods of visual humor into (1) visual pun, (2) visual parody and (3) visual paradox adopting Henri Bergson's theory of the production methods of humor. And I comment on humorous scenes of Shrek in points of design basic elements, such as (1) visual elements, (2) relational elements and (3) practical elements. And I classify humor responses into the incongruity theory, the superiority theory, and relief theory. Therefore this study suggest a reasoned method to categorize the humor types effectively for producing or analyzing various types of humor effects in animation fields.

• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Cartoon and Animation Studies
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• s.50
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• pp.299-325
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• 2018

Humans have made a third person over a long history and differentiated them from each other. Discrimination of 'us' and 'them' has led Derrida to make works to look upon the human nature towards animal strangers. This study tries to examine upon the expansion of animal strangers by focusing on 'The Animal That Therefore I am.' Furthermore, the research asserts to pay more attention to animal strangers by looking at his works of how modern people think about animals in the current society. Derrida expresses his 'humiliation' that he felt when he faced his cat after a shower. This emotion brings up the topic that was neglected in the conventional wisdom and casts doubts on this. This emotion of humuliation is only felt by humans, and he explains this is one way of feeling like a 'human.' The researcher therefore focuses on the 'experiences of humans' and looks at the ambivalence of humans in culture and the irony in natural animals. This perspective criticizes Speciesism, which considers people other than oneself able to be suffered. This view also tried to escape anthro-pocentrism and looked at the animals on their own. This study examines current animal strangers with theories of Donna Haraway and Jane Goodal, and analyzes Derrida's artworks with Susan Sontag's philosophy. This aims to lead to a conclusion of how to reach an optimal relationship between human and animal. By focusing on Derrida, who has not been highlighted yet in this country, hopes to create effective communication between human and animal by explaining his artworks through new philosophy of animals.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.113-124
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• 2014

Ah! My Goddess has impressive narrative structure including a "narrative as a discourse," a "narrative as a story" and a "narrative by narrator": in a narrative as a discourse, North and South Korean soldiers make friendship; in a narrative by a narrator, main characters (including Sun-ho, Seok-gu, Ju-hwa, Chang-seop and Dong-hyeon) appear in the outer story and narrate the inner story of characters (including Dong-hyeon, Goddess and Seok-gu) within the frame of a play within a play; and in a narrative as a story, reality and fantasy intersect by the appearance of the "Goddess." This narrative structure contributes largely to 1) the character formation of space, 2) the strategic minimization of the stage, 3) the multiplicity of main characters, 4) the repetition of similar life story, and 5) the flexible change of a point of view. And the musical number serves as dramatic functions such as 1) pursuing the multiplicity of characters, 2) maximizing the effect of the expression of tragic feelings, 3) drawing audience's interest by irony and fantasy, 4) evoking the nostalgia for delicate feelings and pure wishes, and 5) ordinary female characters' playing the role of healing and salvation, thereby contributing to the reconstruction of reality and the style of fantasy.

• Journal of Digital Convergence
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• v.15 no.6
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• pp.399-406
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• 2017

Contrary to the fact that the old films contain artistic and include contemporary literature, religion, and philosophy, latest films are produced with focusing on external interesting composition and sensational scene. A good movie emotionally express the directors' topic message exuding from an interesting story, and empathize with the social agenda which shows a sharp look of the directors' on contemporary social aspect. In the movies of the Coen brothers, it seems like an entertainment movie as typical black comedy genre through irony and happening, but in fact, it inserts a lot of social problems in the film to show that they cynically express their social agenda from a contemplative view. In their movie "The Big Lebowski (1998)", it seems like they are creating comical content through the main characters' unaffected attitude. However, it is director's excellent director of the sub-text that expresses American social issues such as Vietnam war, post-modernism and an obscurantist policy and au fond the comedy about the historical facts of mass production of social maladjustment into black comedy. We expect to contribute to make a step forward in the Korea film industry by analyzing such movies that has the cultural power of influence.

• Journal of Digital Convergence
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• v.15 no.8
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• pp.401-407
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• 2017

The movie content, which is more firmly established as the best popular art, is the main entertainment content that reflects the current trend based on the most common contents and consensus on the culture of the global community. However, since modern films are more sensitive to popular tastes that appeal to amusement and stimulating emotions, reduction of opportunities for intellectual pleasure through appreciation of artistic expressions is inevitable and unavoidable. In this paper, however, we try to analyze the symbolic meaning of the short in the film, to grasp the inner nature of the film projected in the film, and ultimately to express the theme message. Effective symbolism exposes emotions to create moods and moods, and to express deeply with the audience, expressing the inner psychological state and will of the person. By conveying the meaning behind the surface image to the audience unconsciously, it is possible to transmit the message intentionally more effectively and strongly. In addition, it can be expected to create effects such as an associative action or an increase in contrast energy on the screen through collision of irony and image in the expectant emotion composition of the audience.

• Journal of Digital Convergence
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• v.15 no.9
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• pp.453-461
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• 2017

The video image in the movie has become more spectacular than ever, and the expression area and the subject have been infinitely expanded, but it can not be said that the range of imagination has expanded. Instead, the 60s and 70s, which were the epochs of popular culture, The film that implements the artististic visual style and expression style of the artist. Stanley Kubrick's "Clockwork Orange", which has been pursuing technological perfection and experimental style, was created using traditional video grammar and gained a great repercussion with outstanding material and high artistic expression technique at that time. These techniques have led audiences to rational observation through irony, rather than emotional sympathy for the situation, for extreme violence and sensational films. This is because the purpose of the director was not to be in technological perfection but to reveal the contradictions of the real society and to reflect on the meaning of the existence of society itself. These creative traditional visual grammar and expression methods are a good visual style that enables the intentionally transmitted message to be transmitted more intensely and effectively, and the artistic depth can be created at the same time by unconsciously perceiving the meaning present on the back to the audience.

• Korean journal of communication and information
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• v.71
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• pp.33-51
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• 2015

In South Korea, the community building projects and so-called 'community businesses' are recently regarded as one of the popular issues for the local people and social activists. The project seems to be a miracle resolution for various social matters such as the deteriorating welfare, health care, security system and the worsening income problem, etc. But these promising social discourses and practices which encourage to build communities are not only constructing 'good governance' for the sound cooperation between the state and civil society, but also allowing government technologies to manage and regulate civil society and citizens. This irony of building community is not yet thoroughly considered. The aim of this article is to ask 'Is building community good for all of people?'; 'How does community guarantee the freedom of people who participate in?'. The reflection for community in South Korean Society has related to The May 18-community in Gwangju. The May 18-community is a keystone for understanding the ethos and pathos of community. This study tries to unravel the relation between the May Uprising and the idea of community throughout affects and hearts of participants. The lived experience and testimony of the people of Gwangju in May, 1980, reveals that community should not be in an order and an notion of security. Examining hearts of members of 'whatever community' in the May Uprising is essential to imagine a new form of community which incorporates liberation and freedom as its base.

• Journal of Wetlands Research
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• v.23 no.4
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• pp.277-286
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• 2021

This study compares the long-term hydrological cycles of the Seolmacheon and Cheongmicheon basin by applying the structural equation model (SEM). These two basins are found different especially in their land-use pattern. Both basins have the actual evapotranspiration data measured by the eddy-covariance method as well as the rainfall and runoff data. The length of the data considered in this study is nine years from 2010 to 2018. The structure of the SEM is determined by considering the correlations among the data as well as the general knowledge on the hydrological cycle. As a result, a total of three SEMs are applied sequentially to analyze their fittings. As irony would have it, two basins are found to be similar in the application of one SEM, but different in the application of another. Especially, when considering the feedback process between precipitation and evapotranspiration, two basins are found to be very different. That is, the feedback process between precipitation and evapotranspiration is found to be significant in the Cheongmicheon basin where the portion of agricultural area (i.e., paddy) is more than 40%.

• Cross-Cultural Studies
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• v.51
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• pp.25-44
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• 2018

Modern Japanese "Anti-war poetry" originates from Sino-Japanese war and Russo-Japanese war period. Sino-Japanese war was started by an Imperial rescript of war declared and ordered by the Japanese Emperor to the Japanese citizens. With this declaration, the Emperor gave a message to the population that Objection was not acceptable. This Declaration of Imperial Rescript (Shousho) became justified as being a Crusade or Holy war. Any Anti-war stance was considered an ideology of revolt against the Emperor and his order of Imperial rescript (Okotoba). This was why when Akiko Yosano's "Don't you dare lay down your life" (1904) was published, it received harsh criticisms such as "be punished in the name of the nation". Anti-war poetry as a way of free speech was suppressed. Short poem was especially targeted. Because it is seen as a minor genre, short poem has been passed over. It needs to be reappraised for its importance as a category of anti-war poetry. Notably, modern short poem (New Senryu) has been under oppression and relentless surveillance because of its stance of criticizing politics and society in general by making full use of satire and irony. A supreme example of satirizing of Imperial Rescript on education was the "An anti-war poetry" by Akiri Tsuru. This treatise is a study of how ironical technique from "An anti-war poetry" inverts the meaning of "Imperial decree" and "Imperial rescript".