• Cartoon and Animation Studies
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• s.37
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• pp.197-219
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• 2014

, one of the Disney's animations, hit the 10 million audience mark for the first time in the history of animations released in Korea. not only raised the fever with its theme song, 'Let it go', as well as Elsa, Anna, and Olaf's character products but caused sensations in many ways. If so, we need to think about what kind of meaning did create in Korea to be so sensational. This study examines the value that Frozen intended to deliver and the meaning it generated by using Greimas actant model and semiotic square. From the actant model analysis on Anna and Elsa from , it was identified that Anna desired to recover her relationship with Elsa and to take summer back in Arendelle. Her desires can be interpreted as her love toward Elsa and people in Arendelle. Meanwhile, Elsa always desired freedom although she confined herself because of her ability to freeze. In other words, Elsa desired to free herself from her freezing ability by finding out how to control her ability. Such desires of Anna and Elsa were achieved by their actions of true love, and the solution of all the conflicts in was an action of true love. From the semiotic square analysis on the meaning of , it was found out that created past-oriented value with which characters tried to change their abnormal lives of the present into their normal lives of the past. The characters tried to change their present lives where freezing winter comes in the middle of summer, communication between the sisters is cut off, and people try to take advantage of the abnormal state deliberately, into the past when the sisters had a good relationship and the natural season of summer in Arendelle. The past-oriented value that tried to tell us is similar to our reality. In our reality with a lot of unbelievable news and unstable circumstances, we desire to go back to the past when we were filled with affection and hope even though our lives were tough and difficult. This sentiment must have contributed to the huge success of in Korea.

• The Journal of the Convergence on Culture Technology
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• v.3 no.4
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• pp.77-82
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• 2017

The first objective of this paper is to develop the frame of design analysis and color plan strategy for the entire brand. A variety of analyses were carried out on the base of the I.R.I system and the semiotic viewpoint to develop the analysis frame for the entire brand meaning and color. The major part of the research is assigned to secure the validity of the analysis framework that is to be applied to the brand environment. Also, by SWOT analysis, analysis consistency has been maintained in design integration based on color frame. And theoretical review was made on color strategy planning. Through this, we attempt to explore the role of total brand strategy and color design requirements and analysis process. As a result, visualization of brand and color has been established by conceptualizing the ideal-type of commercial success. In conclusion, we have demonstrated the results of image analysis of whole brand through commercialization, visualization and expression through analysis and application of design process of total brand, and also showed the process of optimizing color design plan.

• Korean journal of communication and information
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• v.46
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• pp.245-279
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• 2009

UCC, an abbreviation for User Created Contents, is not only a symbol of desire but also a product of creativity that a producer contains his or her subjective disposition. More and more UCC tend to have significantly increased in Web 2.0 environment. However, the research on the contents as a creative product has rarely been processed. It may be fairly said that this results in the indifference of researchers in the special field like the political contents since UCC is usually produced by amateurs. Producers' various desire is unlikely revealed, which leads to the flow of users into open media such as the Internet. It could also be available to represent the property, of plural visual language signs in a field. Moreover, UCC has the attribute of re-mediation in effective communication, so the differences between the semiotic properties in the Internet contents could be a significant material for researches. This could contribute to establish a theoretical system for the visual communication. Therefore, this study aims to analyse the signification of the political video UCC, . To develop this analysis, I apply Greimas' Generative Trajectory of Signification Theory to the text, or the UCC. He classifies it as three structures: deep structure, superficial structure, and discourse structure. As a result, the text shows meaningful contents delivering core political messages. In addition, this approach could exam that 'Obama Syndrome' in American recent presidential campaigns is caused by web 2.0 based on Internet campaigns including video UCC.

• 기호학연구
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• no.57
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• pp.59-90
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• 2018

This paper examines the discussions related to image and signification through the theories of Roland Barthes. We have already been able to see through the studies of Semiotics and Anne H?nault that the denotation is distinguished from the connotation in the linguistic dimension. Through the analysis of the advertising image of Barthes, we have seen that the syntagmatic relationship can make the sense of the image objective. From this study, we also emphasized that it is possible to subjectively interpret images that deviate from the syntagmatic relationship. In addition, we examined the concepts of Studium and Punctum by Barthes. With this we have found that the definition of a personal meaning to objects has a theoretically clear position. Finally, we have been able to understand the concept of 'le sens obtus' through the article ${\ll}$ Le troisi?me sens ${\gg}$. The notion of 'sens obtus' makes it possible to realize that the objective and clear sense of object is not the one chosen primarily from the subject. By facing an object such as an image to be interpreted, the subject is placed in a situation where he is not compelled to choose a meaning but rather he chooses one of the possible senses. This makes it clear that the semantic levels provided by semiotic theories are limited to the analytic dimension.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.145-153
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• 2019

The present study is a discussion in which the flow of 'social and cultural values' inherent in the creative advertising story is considered against Bart's symbolism and the creative symbol system, and attempted to reproduce the work through the cognitive thinking of the inmates. The interaction of correct social and cultural communication is not just a strategy for persuasion and effectiveness. Starting with these issues, I thought that experiencing the 'symbolic production' and 'cognition interpretation' of the most creative, aesthetic and implicit advertising stories was the realization of concrete cultural values. The reason why I pay attention to advertising as a target tool of the original school is that it gives anyone access to the social and cultural values based on the productivity of meaning, the sharing of meaning and social small-call work by paying attention to the most implicit symbols in a short period of time. I also think that with the trend of the times, it is well worth it as a tool of positive communication for social and cultural member harmony and solving future problems. The reality of social and cultural advertising stories conducted in conjunction with the analysis of meaning at the cognitive thought level is very appropriate to apply in creative classes for college students. The Dong-A Ilbo is a discussion that suggested that the work of realizing the cognitive meaning of advertising stories, a "symbol complex" based on creativity in a complex, multi-media era, will become an age-old communication tool to join university students' strategies for solving future problems

• Journal of Science of Art and Design
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• v.3
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• pp.225-247
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• 2001

The analysis of art work that is objective and theoretical needs the help of the cognitive psychology, for the pictorial semiotics requires psychology. The first step to the analysis of art work is about the visual elements and their relations. But the semiotics is lack of the method of the analysis of art work and the some authors don't have treated or been interested in psychological analysis. The main problem of visual semiotics is the density of pictorial representation. It makes the semantic of art work impossible at the very early process of analysis. But the density is not only a matter of visual representation, verbal language also has this problem. The point is that art work functions more art than denotation, but verbal language does more denotation than art. This difference makes difficult to apply the method of language or semiotics to visual art. The possibility of pictorial syntax or perceptual semantics should begin considering the unification of perception and semantics. In principles these two field can be unified. At atomism and holism these are parallel. Therefore perceptual semantics is possible The cognitive psychology can help to formulation of perceptual semantics. At first, the visual representation is incremental and it can be divided at three steps. In these steps each sensation, perception and cognition level has their own role. Perceptual representation of art work should be specified at these three levels. And each of these levels, the special properties of art work should be drawn and examined in the possibility of semiotics. The investigation of psychological levels and semiotic level should be circulated. It will help to formulate the method of analysis of art work.

• Lingua Humanitatis
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• v.2 no.2
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• pp.143-161
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• 2002

This essay explores the theories of Italian poet and filmmaker Pier Paolo Pasolini on the language of cinema. In essays such as "The Cinema of Poetry" and "The Written Language of Reality" composed during the 1960s, Pasolini argues for the special status of film language as "pre-grammatical" and links it to visual signifying processes such as dreams and memories. He also views cinema as the inroads towards a general semiotics of reality since, for him, the basic unit of film language is not the shot but those objects of reality that constitute the mise-en-scene of the shot, hence cinema is posited as the written language of reality whose minimal units of articulation are the very objects of reality itself. Accused by semioticians such as Umberto Eco of semiotic ingenuousness in trying to reduce the facts of culture to nature, Pasolini responded by arguing that he was trying to do the opposite, that is to say, to culturalize nature by examining it as a language. Against the constructed naturalism of both commercial and neorealist films, Pasolini argued for the creation of a poetic cinema able to exploit its constitutional pre grammatical, oneiric and sacred relationship with the world. The essay concludes with an analysis of the film Medea in which Pasolini′s attempt to restore a sacred vision of reality merges with his concerns over the cultural genocide of traditional and emarginated peoples at the hands of neocapitalist homologation.

• Journal of Educational Research in Mathematics
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• v.27 no.3
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• pp.491-510
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• 2017

This study analyzes on conjecturing tasks in elementary mathematics textbook. We adopted Peircean semiotic perspective and variation theory to analyze conjecturing tasks in elementary mathematics textbook. We specifically analyzed mathematical tasks designed to support students' inquiries into definitions and properties of quardrilaterals. As a result, we found that conjecturing tasks in textbooks do not focus on supporting students' diagrammatic reasoning and inductive verification on provisional abductions. These tasks were mainly designed to support students' conjecturing on commonalities of mathematical objects rather than differences between objects.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.14-26
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• 2009

This study is to investigate makeup shown in fashion collections of Christian Dior based on semiotical theory of Morris. Morris's theory developed from semiotics of Peirce composed of syntactics, semantics and pragmatics. Therefore, in the case of analysis of fashion makeup, syntactics investigates signs of forms, colors, textures and materials of makeup, semantics finds out meanings of the signs of syntactics and pragmatics analyzes aesthetic characteristics which the signs of syntactics and the meanings of semantics symbolize. Fashion makeup in Christian Dior Collections were expressed experimentalism sign, multi-culture sign and popularity sign. Experimentalism signs were expressed with graphic makeup and cyber techno makeup and multi-culture signs were done with ethnic make up and retro makeup. In addition, goth make up and hitch makeup showed popularity signs. This study found that the three types of signs were considered to reflect aesthetics of the contemporary fashion. Also, this study could conclude that fashion makeup was able to be interpreted by Morris' semiotics.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.05a
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• pp.176-180
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• 2007

The stage space in theatre for the performance of a play requires two aspects of the physical space for a play and the image as the background or the theme of a play. This research focuses on the scene design that creates the background or the theme of a play and communicates it to the audience. The scene design is composed of various design elements of space and objects as the properties of a play. Design elements and the objects are the design languages in various form; plane, three-dimensional, multi-dimensional form. These design language have the significant meaning as a sign like human language. The scene design is completed with rhetorical expression for communication in theatre. This research defines the category of meaning that design elements of scene design can create and the rhetorical expression of the scene design language. King Lear directed by Robert G. Anderson was analyzed with the category of design elements as a sign and the pattern of the rhetorical expression. The scene design for a play is completed effectively by the rhetorical expression of design elements as the design language for communication with the audience in theatre.