• Korean Journal of Childcare and Education
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• v.8 no.1
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• pp.85-107
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• 2012

The movie WALL-E shows the Earth which has been overrun with garbage and devoid of plant and animal life, and humans who try to restore the ecosystem. The aim of this study is to find the implications of children's education with a detailed analysis of the movie's theme. The analysis method is the interpretive analysis model that is one of the qualitative methods of data analysis based on the concept of Wolcott. First, the Earth is an abandoned planet covered in trash: the Axiom is a haven for morbidly obese and indolent people. The main area of the earth's destruction, and the captain's cabin is the place to find a clue to awakening and change. Second, with the lapse of time, the Axiom becomes a ship allowing their return to earth. The Earth, recognized as their homeland, turns in to the land of hope when people return. Third, the cleaning robot Wall-E, as a main agent of change, has changed humans as well as itself. The results showed that we found nature-friendly development, destruction of nature, the criticism of modern civilization, the sanctity of life, ecological consciousness, coexistence, symbiosis and a win-win principle in our research.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.175-184
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• 2018

The commercial success of the game has also led to animation of the original game, especially the live version of The Street Fighter II in 1994 and a variety of videos of the game-based version, 2D Animation and 3D Animaion until now. But animations are not always successful because they are based on popular and commercially successful games. That's because when the original game was remade into an animation, the difference between the narrative structure of the original game story and the setting of the game and animation is striking. Nevertheless, a feature-length animation based on the Angry Birds game, which was released on May 19, 2016, has also been a huge commercial success, with this paper analyzing the case applied to the 12th stage of Christopher Vogler's hero's journey, Aengibird the Movie, and discussing the way in which the animation developed based on the game compared with other animations. Christopher Vogler, a Hollywood playwright, analyzed the structure of popular-loved movies based on the common narrative of the myth as the main motif of the mythologist Joseph Campbell. His narrative style is a hero's journey, using a total of 12 stages of epic narrative structure to help the protagonist find himself and achieve what he wants. Foreign heroes, adventure films as well as animations from big studios like Disney, Pixar, and Ghibli are using the story-development method of this Christopher Vogler.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.107-119
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• 2020

This study was designed to analyze the social and institutional problems that may arise in the early 2000s of the United States and in the scholarship program for university student-athletes by analyzing Dialogues in the Film [The Blind Side] and to derive the meaning of this to Korean society and education field. In summary, the first is that there is a need for fundamental change in the thinking about gender discrimination and racist expressions expressed in everyday life including a Sport field not only in the United states but also in Korean society. Second, the Korea University Sports Federation(KUSF), like NCAA, is working on the right to study and human rights of university athletes, but in the commercialism of modern sports related to the capitalism, these systems and regulations could be a bigger obstacle to the process of growing young players. And finally, like the case of "Flower-loving Ferdinand" who having a lot in common with the main character, Michael in the Film, I hope that there will be a "Sports Ferdinand" that likes the sport itself, which is fully satisfied with its life and lives happily even if it is not a sports star.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.151-156
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• 2019

In recent years, the Korean realistic theme of the film momentum gradually rising. Realistic films do not stick to the business and market, and do not simply cater to the audience's needs for watching movies. They reflect social violence and cruel reality, allowing the audience to observe the structural contradictions in reality and think about the direction when watching movies. At the recent cannes film festival, "parasite" won the top prize palm in cannes by an overwhelming margin, with the highest score of 3.3 issues. Although this film is positioned as a thriller with comedy elements, it presents the opposite life images of Korean classes to the audience in a parasitic way, which not only expands the possibility and artistry of realistic film aesthetics, but also enhances the appreciation of the film and gives play to its own aesthetic value. Focusing on the technical and literary nature of the film, and having a high degree of attention to real life, it is an excellent work that tells about class opposition and thinking about reality. This paper considers and analyzes the content, form and creation method of parasite, and discusses the continuous exploration and attempt of realistic film to image language under the demand of market and system, evolving into new aesthetic expression.

• Journal of KIISE:Software and Applications
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• v.27 no.5
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• pp.529-542
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• 2000

Recent years, the use of multimedia information is rapidly increasing, and the video media is the most rising one than any others, and this field Integrates all the media into a single data stream. Though the availability of digital video is raised largely, it is very difficult for users to make the effective video access, due to its length and unstructured video format. Thus, the minimal interaction of users and the explicit definition of video structure is a key requirement in the lately developing image and video management systems. This paper defines the terms and hierarchical video structure, and presents the system, which construct the clustering-based video hierarchy, which facilitate users by browsing the summary and do a random access to the video content. Instead of using a single feature and domain-specific thresholds, we use multiple features that have complementary relationship for each other and clustering-based methods that use normalization so as to interact with users minimally. The stage of shot boundary detection extracts multiple features, performs the adaptive filtering process for each features to enhance the performance by eliminating the false factors, and does k-means clustering with two classes. The shot list of a result after the proposed procedure is represented as the video hierarchy by the intelligent unsupervised clustering technique. We experimented the static and the dynamic movie videos that represent characteristics of various video types. In the result of shot boundary detection, we had almost more than 95% good performance, and had also rood result in the video hierarchy.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

• Journal of Broadcast Engineering
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• v.17 no.2
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• pp.411-421
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• 2012

The stagnant growth in 3D market due to 3D movie contents shortage is encouraging development of techniques for production cost reduction. Elimination of vertical disparity generated during image acquisition requires heaviest time and effort in the whole stereoscopic film-making process. This matter is directly related to competitiveness in the market and is being dealt with as a very important task. The removal of vertical disparity, i.e. image rectification has been treated for a long time in the photogrammetry field. While computer vision methods are focused on fast processing and automation, photogrammetry methods on accuracy and precision. However, photogrammetric approaches have not been tried for the 3D film-making. In this paper, proposed is a photogrammetry-based rectification algorithm that enable to eliminate the vertical disparity precisely by reconstruction of geometric relationship at the time of shooting. Evaluation of proposed algorithm was carried out by comparing the performance with two existing computer vision algorithms. The epipolar constraint satisfaction, epipolar line accuracy and vertical disparity of result images were tested. As a result, the proposed algorithm showed excellent performance than the other algorithms in term of accuracy and precision, and also revealed robustness about position error of tie-points.

• The Journal of Art Theory & Practice
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• no.2
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• pp.169-190
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• 2004

The purpose of this article is to delve into the problems of originality of the artwork by examining issues of reproduction within the contemporary art market. In contemporary arts, especially in terms of art production and consumption, we can't overlook society and its economic structure and its connection with of capitalism. As the purity of art creation has turned into an exchange value, art, especially an object as artwork, has fallen into the status of production in an economic marketing system. Walter Benjamin mainly referred to that point in his thesis Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, which originated the sociology of plastic arts. This thesis, published in 1936, traced how the artistic functions of photograph and movie had been changed through the social development. His main concerns were movie and photograph but what I am concentrating from his point of view, is that even in the field of plastic arts, the manufacture of reproduction has been practiced as a primary method within the social and political contexts and development. Though I am referring to this in the main body of this article, reproduction in contemporary art strongly needs a new definition since it has been spread all over like a newest virus, not only by collector's personal taste or hut also by commercial circulations of these reproductions to the public. This relates to Benjamin's argument about the value of an exhibition at a museum(Ausstellungswert). Since the function of an artwork has been one of cultural industry, the manufacturing of reproduction raises unexpected problems, such as, the originality of the artwork, the value of an exhibition at a museum, its achievement as documentary and as a territory of art criticism. In this point of view, I want to inquire into the value and criteria of an exhibition in contemporary art through the review of the definitions and the intrinsic attributes of reproduction. Somehow in a broad sense, the reproduction is a product coming out of representation or copy (replica) of an original art work or an model. Therefore, the problems it presents differ from the Simulacre, which is an image without an original one. In terms of the Meanings of reproduction, we can distinguish it as reproductions, copies, and productions. These types of reproductions are not the original artworks reflected by the creative intention of the artists. For example, a publishing company reproduced some of lithographs of Salvador Dali in the 1960s. They are commercial copies in the form of representation or reproduction with no artistic and creative intention of the artist. However, In despite of this theoretical basis, reproductions of the famous artists are still displayed without any verification for of the public's quest for the artworks. Moreover, many commercial companies that are planning to exhibit art works of the world-famous artists only for their profits keep trying to speak ill of and judging by the law the honest art critics' articles which discuss the true values of exhibition. If freedom of expression is one of the ideals of democracy, even the judgment of the originality of the artworks should be freely expressed.

• Cartoon and Animation Studies
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• s.40
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• pp.315-336
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• 2015

Since it is imperative to share the values with the spectators to convince the public of the era, the main characters of a story that underwent numerous adaptation through time would change gradually. This paper examined changes of the main characters in various versions of Cinderella. Until the mid-20th century, Cinderella would be portrayed as a meek, passive and obedient girl as in the original fairy tale version of Perrault. As moving to 70s, a heroine who acts with her own feelings and thoughts began to appear. In the 90s, spectators could meet a protagonist who fought fiercely to be the owner of her own fate, and in the recent Disney movie, Cinderella stood up for herself while accepting herself as she was. The prince character also underwent similar transition. In the early versions of Cinderella, the prince would be a vague figure with a title who was desired by all maids in the country. It is in the 70s that the prince began to be portrayed as a person who has his own problems. In the recent years, the spectators could see the process that the prince transformed from a naive aristocrat to a man with responsibilities. In modern society, women have more social opportunities compared to the past, and women's social statuses do not need to be secured by relationship with men any longer. Thus Cinderella story is not as popular nowadays, moreover somebody whose dream is becoming Cinderella would subject to social reproach. However, beside the gender, the story could be the only hope for people who feel a sense of helplessness that there is no chance in their lives. As result variations of Cinderella story will go on as long as people of social deprivation exist.

• Science of Emotion and Sensibility
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• v.13 no.4
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• pp.621-634
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• 2010

This study aimed to investigate the effects of dimensions of movie clip (2D vs. 3D), viewing orders (2D ${\to}$ 3D vs. 3D ${\to}$ 2D), and gender difference on participants' subjective fatigue, recognition for the elements in the clips, and arousal level. The results can be summarized as followings. First, subjective fatigue level was higher in the 3D condition than 2D condition, but this tendency was more clear in the 2D ${\to}$ 3D condition than in the 3D ${\to}$ 2D condition. Second, correct recognition rates were significantly higher for 3D than 2D only in the 3D ${\to}$ 2D condition. In particular, male participants showed higher correct recognition rates than female participants in the 3D clip condition, whereas female participants showed higher correct recognition rates than male participants in the 2D clip condition. Third, although 3D clips tended to induce higher level of arousal, this tendency was showed only in the 2D ${\to}$ 3D condition, which implied previous exposure to 2D clip increased the arousal level in following 3D clip than vice versa.