• The Korean Publising Journal, Monthly
• /
• s.263
• /
• pp.11-11
• /
• 1999

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.6
• /
• pp.135-142
• /
• 2019

This study explores the ways in which depaysement and its dreams function as a hallucinative allegory on the basis of the spiritual freedom of surrealism in Luis Bunuel's films: "The Discreet Charm of the Bourgeoisie" and "The Phantom of Liberty". In order to grasp the appearances of the sign in the scene of these films, it examines how he uses surrealism's dépaysement techniques such as the disposition of floating object, bipolarity, and physical contradictions of images. These emerging aesthetic views are as follows: the antipathy to reason, the critique of law and order, the aversion to ideology, and state apparatus. These finally aim at criticizing fundamental irrationality, thus paving a path for opening the possibility of liberation. He laid the foundation for a surrealist film by appropriatizing surrealist techniques to spread his claims. Therefore, this study argues that filmic scenes of dreams and hallucinations for a hallucinative allegory are closely related with the technique of depaysement network which summons the significance of surrealistic freedom in these films.

• Laser Solutions
• /
• v.7 no.1
• /
• pp.17-28
• /
• 2004

1960년 인류 최초의 레이저 빔 발진이 성공한 이후, 불과 40년 만에 레이저는 우리 생활의 일부분으로 여겨질 만큼, 그 활용이 광범위하게 이루어지고 있다. CD 플레이어에서 반도체 레이저는 데이터를 읽어 음악을 만들어 내며, 놀이 공원에서는 환상적인 영상 쇼를 연출하며, 인터넷으로 세계를 잇는 광케이블에도 레이저가 정보를 전달하고 있다. 또한 레이저는 프린터로 활자를 인쇄하고, 물품의 바코드를 인식하며, 양복을 재단하며, 강판을 자유자재로 절단, 용접하기도 하며, 얼굴의 점과 여드름 제거 및 라식 수술도 널리 행하여지고 있다(중략)

• Cartoon and Animation Studies
• /
• s.9
• /
• pp.220-234
• /
• 2005

The article deals with the reality subject of animations. Animations are created on the basis of fantasy. Disney's introduction of the narratives and styles of live action film into the field of animation, which laid a foundation for the hyper-reality animation, has produced an unintended consequence of marginalizing other animation genres which have emphasized fantasy through free experimentations of various images. A combination of Disney's world view of hyper-reality with later-developed 3D computer animation technology has made fantastic figures and spaces much more real than the real ones, and succeeded in creating a matrix of simulacre, a world of mere copies without the original.

• Korean Journal of Cognitive Science
• /
• v.24 no.3
• /
• pp.237-270
• /
• 2013

Determinism and compatibilism have thought that libertarianism contradicts the scientific view. This paper demonstrates that the hypothesis that free will exists does not cause any problems and contradictions, while maintaining pro-scientific view. Rather, determinism lacks scientific and demonstrative bases. At first, I reject dualistic self by assuming identity theory of the self and physical body & brain. Free will is a functional concept or property that can have multiple realization. Therefore we can recognize whether aliens or robots have free will through observation on their acts. 'Free will' is a functional kinds term like 'digestion'. As we know we have digestive function, we can know that we have free will even before knowing the necessity of its existence by understanding micro structure of human free will. The judgement that an individual has free will function depends on whether it has particular actions. Those actions are controlling and restraining actions in context, predicting future, making elaborate conditional sentences, etc. Real being of free will is the physical occupant of the function that makes those actions. Determinism is based on various kinds of misconceptions and misunderstandings. Determinists often confuse necessity of physical law and determinism. Another decisive misunderstanding is that free will postulates same conditions and different results from the same point of time. However, free will postulates that the two points of time are different. Because determinism is unnecessary redundant hypothesis influenced by religions, according to Ockham's Razor, determinism should be eliminated.

• (The)Study of the Eastern Classic
• /
• no.34
• /
• pp.339-362
• /
• 2009

If we try to define the concept of beauty in the large sense, as Kant and Chaung-tzu all agree, It can not be fixed in the one sense, but whose connotation and denotation should be extended infinitely. In this sense, I would like to say that the beauty is liberty. Aesthetics of Kant is oriented toward subjective and reflexive dimension, while that of Chuang-tzu is oriented toward natural and practical one. The difference between aesthetics of the two philosophers begins from their philosophical methodology. If the transcendental methode which is proper to Kant's philosophy prefers to discriminate and devide everything especially from dichotomic viewpoint by langage. But Chuang-tzu' methode called Za-Mang criticizes such a dichotomic division and langage itself. Even so, the two in the long run agree as to the foundation of beauty. But Kant's liberty is one of will or transcendental, meanwhile that of Chuang-tzu is based on recognize the fact that we are all production of nature. according to Chuang-tzu, in the great beginning, there was non-being. It had neither being nor name. The One originates from it. When things obtain it and come into existence. As the One, Tao is in the excrement and urine. Everything is under the constant flux. All species have originative or moving power. Although the universe is vast, its transformation is uniform. Because all things are one. Vacuity, tranquillity, mellowness, quietness, and taking no action characterize the things of universe at peace and represent the ultimate of Tao and virtue. The material was transformed to be form, form was transformed to become life, and now life has transformed to become death. A basic principle of Chuang-tzu's art is expressed in the phrase "taking off clothes and squatting down bare-backed". The key of Chuang-tzu's aesthetics is to dedicate to the expression of inner spirit instead of physical verisimilitude, and painting should be a spontaneous and instantaneous flow of the brush. Kant's concepts such as "disinterested" and "purposiveness of nature" seem to imply in the long run the unification of nature and human being which is fundament to Chuang-tzu's aesthetics.

• Cartoon and Animation Studies
• /
• s.5
• /
• pp.440-446
• /
• 2001

폭력의 발생 원인은 다양하고 그 표현 방식도 여러 가지 양상으로 나타나지만 인간의 기저에 갖고 있는 일반적 원인은 욕구불만이다. 욕구불만의 해소가 이루어지지 않은 상태에서의 인간은 항상 폭력성이 잠재되어있는 상태가 된다고 볼 수 있다. 윌리엄 맥두걸은 본능이 인간행동에 동기를 부여하는 가장 중요한 요인이며, 지각과 정서보다 동기의 힘을 강조했다. 사람은 본능이 동기를 부여해 준 것을 지각하고 적절한 대상이 지각되면 그 대상은 행동을 자극하는 감정변화를 일으킨다. 이러한 검정변화를 충동이라 할 수 있는데 지그문트 프로이드는 인간의 많은행동이 불합리한 본능적 충동에 바탕을 둔다고 보고 있다. 충동은 대개 생리적인 긴장, 결핍,또는 불균형상태에 뿌리는 두며 충족되어야 할 절박한기본 욕구로 유기체에 행동을 강요한다. 충동은 선천적이며, 기본적인 생리적 욕구와 직접적으로 관련된 충동과 학습을 통한 모방충동, 약물복용의 반복적으로 인한 양물중독이 있고, 성취, 활동, 친화, 호기심, 배설, 탐구, 조작, 모성애, 고통회피, 성애, 수면 등 인간의 생활에 반영되는 거의 모든 욕구를 포함한다. 따라서 욕구의 해소를 위해 무엇인가를 해야만 하는 인간은 욕구의 억압상태나 좌절상태에서 심한 분노와 폭력의 충동을 느끼게 된다. 현대 심층심리학은 어린이들이 말을 충분히 자유자재로 구사하기 전에 겪고 억누르게 된 무시무시한 분노의 환상을 가지고 있는데,. 공포예술의 무시무시한 영상들이 결부되어있다는 것이 밝혀졌다. 픽카드(P.M. Pickard)에 의하면 어린아이는 그들의 내적 현실을 외적 현실을 적응시키려는 힘겨운 투쟁 속에 근친상간적 갈등, 흡혈귀, 살인, 식인 등 끔찍한 환상을 겪는 것 간다고 한다. 청소년기는 사회적 부적응기로서 현실과 어릴 적 꿈꿔왔던 이상과의 괴리감에서 오는 당혹과 분노가 발생되는데, 이 시기에 많은 청소년들이 극단적인 선정적인 폭력성에 탐닉하게 되는 경향이 있다. 현실은 결코 아름답지 못하고, 행복하게 살 수 없다는 것에 대한 깨달음에서 기인한다. 욕구불만의 강도가 심해질수록 폭력성은 더욱 강하게 나타나는데 개인에게서 뿐만 아니라 가족, 동료, 사회 단체나 종교, 국가간에도 집단적으로도 발생하게 된다. 사회적으로 볼 때 폭력은 용인되는 것이 아니므로 도덕적으로 절제를 하거나 상대방과 적절한 타협과 조정을 필요로 한다. 그러나 절제의 한계를 넘어선다고 생각되거나, 조정의 노력이 불가능하거나, 실패했을 때 폭력적인 행동으로 나타나게 된다. 리차즈(I.A Richards)는 분노와 공포는 일단 겉잡을 수 없는 경향이 있다고 하면서 오늘날 폭력에 대한 요구가 일상의 정서 생활에 있어, 억압을 통한, 빈곤함을 반영하고 있지 않은지 생각해봐야 할 것이라고 충고한다.

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

• The Journal of the Korea Contents Association
• /
• v.12 no.9
• /
• pp.126-135
• /
• 2012

This study is the subsequent full-scale research of a TV drama writer who has been out of scholarly pursuits as it explores Su-Hyeon Kim's underlying consciousness with focusing on her heroines, the and . The author Su-Hyeon Kim clearly distinguishes a TV melodrama from a TV home-drama by her own self-control, which is a rare case in TV drama genres, therefore, her consciousness lights up at her melodrama. This study applies Lacanian theory to the author's melodramas for examining the author's under-lying thought. For Lacan the subject is an 'alienated', 'privative', 'fractured' 'being' as an imperfect language, the symbolic order, forms the subject through its signification. The subject desires the other's desire, and wants to become an object for the other's desire. The desire constantly demands an integral world, a perfect love, the wholly harmonious imaginary order. And it lasts up as it refuses the symbolic order's imperfection while it works its unconscious fantasy. Lacan states that only the 'traversing the fantasy', 'separation' would give birth to the real, liberated subject. Despite a 20-years of rift within two works, the and have an identical conflict core, that is a subject's constitutive, fundamental privation and desire of a human being. Su-Hyeon Kim's underlying consciousness complies with her continued theses of an inquiry into the subject's real liberation and freedom when desire of the rings produces the subject's alienation, privation, and the pursuit of a impossible perfect love.

• Korean journal of communication and information
• /
• v.51
• /
• pp.136-155
• /
• 2010

Media diversity, coupled with the logic of competition in the global media market, has become a fashionable yet unfitting lingo of media policy in Korea. Media diversity has been fenced in the neoliberal economic logic of market competition and so tamed to consumers' free choice in the market. It is within this context that this article attempts to problematize narrowly-defined, market-oriented, and measurement-obssessed funtionalistic approaches to media diversity. In doing so, the article provides a critical overview of various definitions of media diversity. It also reveals how certain definitions, justifications, and measurements are legitimized and normalized in the name of science and objectivity. The core argument is that reflecting a larger neoliberal, deregulatory turn in media policy, media diversity has shifted from the pluralistic principle of democracy to the matter of free market choice or the myth thereof. It then focuses on the ongoing debate between state interventionists and free market liberals over the relationship between media ownership concentration and content diversity. Finally, it puts forth some recommendations as to how media diversity ought to be reconsidered as reformers' cultural politics, rather than marketeers' science, and discusses implications diversity has for deepening Korean democracy.