• Title/Summary/Keyword: 검은 사제들

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A Study on Representation of Shaman and Gut in Korean Ocult Films - Focused on , , (한국 오컬트 영화 속 무당과 굿의 재현 양상 연구 -<검은 사제들>(2015), <곡성>(2016), <장산범>(2017)을 중심으로)

  • Yoo, Jae-eung;Lee, Hyun-Kyung
    • The Journal of the Convergence on Culture Technology
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    • v.7 no.1
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    • pp.496-501
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    • 2021
  • The representation of shamanism or shaman in Korean cinema has changed according to eras. Since the 2000s, shamanism and shaman appear more frequently than before as the main subjects and characters in movies. The full-scale exploration of shamans usually takes places in documentary works, such as <'Mudang'>(2002), (2006) and (2011). Shamans are summoned in more various appearences in feature films. In this article, we will compare and analyze the representations of shamanism and shaman in recent Korean occult genre films. (2015), (2016), and (2017) are works that utilize new subjects and visual effect styles that were difficult to see in Korean horror films before. In these three films, the meaning of shaman and gut shows distinct differences from each others. Through the analysis of these films, we would like to explore the characteristics and possibilities of Korean occult films.

Green in Film Color: Life and Matter (영화의 초록, 생명과 물질)

  • Kim, Jong-Guk
    • Cartoon and Animation Studies
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    • s.49
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    • pp.399-423
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    • 2017
  • When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.