• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.461-470
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• 2023

This paper analyzes the spatial representations constructed by reality, filming, and narrative in the works of Hong Kong film director Wong Kar-wai, and how these spaces influence Hong Kong's urban culture, perception, and interpersonal relationships. To analyze Wong Kar-wai's films, Charles Sanders Peirce's semiotics concepts and Paul Virilio's spatial concepts were applied. Through this, we examined how the meaning embedded in the spatial representations of Wong Kar-wai's films could become a crucial factor in their success. Wong Kar-wai focused on the values of human relationships formed by society in his subject expression, directly representing the human inner world and prompting audiences to think about it. In this paper, we categorized the spaces depicted in Wong Kar-wai's films as public, private, and connective spaces, and analyzed them as a means to show the living environment and emotions of Hong Kong's youth. Through this, we determined that the spatial representations in Wong Kar-wai's films effectively demonstrate the cultural interpretation function of Hong Kong's citizen consciousness at the junction of Eastern and Western cultures and social connections. In conclusion, Wong Kar-wai's works provide a rich understanding of contemporary people's lives, emotions, and urban spaces, offering valuable insights into Hong Kong's film industry and cultural values.

• Proceedings of the Korea Contents Association Conference
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• 2010.05a
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• pp.491-493
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• 2010

영화 속 공간의 개념은 각 영화의 감독에 따라 많은 의미가 부여된다. 그 공간은 영화 속의 이야기가 만들어지는 곳이기도 하며 주인공의 성격을 알려주는 장치로 사용되기도 한다. 또한 영화 속의 시대를 말하기도 하고 일상의 삶과 스타일을 반영하면서도 허구의, 즉 감독의 상상 속을 표현하기도 한다. 그 공간에 대한 맥락적인 의미를 영화 '아빠의 화장실'의 '화장실'이라는 공간에 초점을 맞추어서 해석하고 궁극적으로는 디자인 스토리텔링에 대해 연구하고자 한다.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.85-86
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• 2013

이 연구는 더글라스 서크(Douglas Sirk) 감독의 <천국이 허락한 모든 것> (1955)과 이용주 감독의 <건축학 개론>(2012)에서 집에 대한 '재현' 공간을 고찰하였다. 두 멜로드라마 장르 영화는 등장인물들이 대사로 직접 표현한 수 없는 것들을 가구, 소품 등의 미장센, 특히 리모델링을 하는 집을 통해서 보여준다. 집은 욕망을 스타일과 형식을 통해 산출한다는 점에서 멜로드라마 장르의 공간을 특징짓는 서술적 사건과 모티프를 담고 있는 구체적 장소의 역할을 한다. 이러한 맥락에서 이 연구는 멜로드라마 장르에서 집과 풍경들이 어떻게 영화적 공간(cinematic space)을 구성하고 그 재현공간이 갖는 사회적인 의미를 고찰한다.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.343-363
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• 2018

Classical film narrative fails to reflect the increasing complexity of modern society. In this era of film narrative crisis Hirokazu Koreeda presents a new solution. The director puts an emphasis on neutral valuation over subject matter rather than empathy of audiences which leads to a biased point of view. Thus Hirokazu Koreeda choose space over story as a critical narrative enabler. Two qualitatively opposite spaces are presented and the boundary space of the two are set as a main background where the valuation over the spaces waves up and down. Audiences who get accustomed to a one-sided value judgement led by storytelling can be neutralized by pendulum movement of valuation. The specific methods of using space as a main tool of value neutralization have changed through the director's filmography. Space had been thoroughly designed through the storyboard in early works. Later the director let audiences experience the spaces to evoke a sense of place.

• Cartoon and Animation Studies
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• s.35
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• pp.89-106
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• 2014

According to Norman McLaren, a Canadian animator, "Animation is not art of moving pictures but art of drawn motions". As he puts it, animation performs the role of magic that turns static to dynamic. Particularly, the space of animation, which is generated through merger of several layers, creates distinctive space that is not to be found in other art genres. Also, the motion of animation, which, unlike live action in film, can be limitlessly created according to a director's subjective domain, has a more autonomous existence. In this paper, I study the space and motion in animation grounded in a director's subjective domain, based on the works by Tabaimo, the Japanese animator director and modern artist. She made an independent use of color sense and perspective that maximized a flat surface, which contributed to creating a new world that doesn't exist in reality. Motion created in such a space is more relative than universal. Therefore, Tabaimo's animation has made aggressive use of a device that gives more originality to the director's themed world, while audience can participate in the strange but new world.

• 정보화사회
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• s.133
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• pp.44-47
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• 1999

전자녹지공간은 바로 이러한 물리국토의 토지이용 제한개념을 사이버 공간상에 적용시켜, 오염된 정보가 발을 붙일 수 없는 특정정보공간 (도메인 부여 등)을 지정하고, 이 공간을 유지.관리하기 위하여 인증제 및 지속적인 감독 계획을 수립해 보자는 일종의 사이버 청정지역이라고 할 수 있다.

• 한국공간정보시스템학회:학술대회논문집
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• 2007.06a
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• pp.156-161
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• 2007

도시화에 따른 도시문제발생이라는 결과로 미루어 볼 때, 지속적인 도시 성장을 위한 도시 성장 관리는 필수적이며, 이것을 위해서 도시지역을 추출하는 것은 도시의 성장 추이를 파악할 수 있게 한다는 점에서 매우 의미 있는 일이다. 본 연구에서는 도시 성장 모니터링에 있어서 정규식생지수(NDVI)와 정규시가지화지수(NDBI)를 결합한 방법의 활용성을 규명하는데 목적을 두었다. 이를 위해 토지피복분류에 일반적으로 사용되는 감독 분류기법과 도시지역추출에 이용되는 NDVI와 NDBI를 결합한 방법(식생지수결합법)으로 1988년과 2000년 두 시기의 Landsat TM 영상을 이용하여 도시지역을 추출하고 일치도를 분석하였다. 분석 결과, 1988년 식생지수결합법과 감독분류기법으로 추출한 도시지역의 일치도는 98%, 식생지수결합법 비도시지역으로 추출된 지역이 감독분류기법으로는 도시지역으로 추출될 확률은 37.35%로 나타났고, 같은 경우 2000년은 각각 99.3%와 7.7%로 나타났다. 이를 통해 식생지수결합법을 사용한 도시지역 추출 결과와 감독분류기법을 사용한 도시지역 추출 결과의 일치도가 비교적 높게 나타남을 알 수 있었다. 또, 각 기법을 통한 도시지역 추출 결과와 실제 도시 검사점과의 일치도의 분석을 통해서도 도시지역 추출 결과의 일치도가 비교적 높게 나타났다. 따라서 분류를 통한 도시지역 추출 방법에 비해 식생지수결합법을 이용한 도시지역 추출이 절차상 수월한 점을 감안하면 도시지역 추출에 있어서 식생지수결합법의 효율성을 입증할 수 있었다.

• Korean Journal of Cognitive Science
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• v.23 no.3
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• pp.295-322
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• 2012

In this paper, we cluster similar word senses applying vector space model and HAL (Hyperspace Analog to Language). HAL measures corelation among words through a certain size of context (Lund and Burgess 1996). The similarity measurement between a word pair is cosine similarity based on the vector space model, which reduces distortion of space between high frequency words and low frequency words (Salton et al. 1975, Widdows 2004). We use PCA (Principal Component Analysis) and SVD (Singular Value Decomposition) to reduce a large amount of dimensions caused by similarity matrix. For sense similarity clustering, we adopt supervised and non-supervised learning methods. For non-supervised method, we use clustering. For supervised method, we use SVM (Support Vector Machine), Naive Bayes Classifier, and Maximum Entropy Method.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.121-128
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• 2015

This study analyzes the space in A Brighter Summer Day, covering the meaning of space from inside to outside of the film extended. A violent spaces in the inside causes Xiao Si'r's homicide, including society, house, and school. In the external space, the film's form presents director's attitude and will resisting against dominant system of society with an audience's space. The audience join the space being the director's intention, actively interpreting this film, doing self-reflection and taking an opportunity for social participation.

• Cartoon and Animation Studies
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• s.43
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• pp.343-362
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• 2016

The purpose of this study is to analyze the 'depth of the film image' and to discuss its aesthetic implications in the Wes Anderson's films. In this study, I have analysed his two recent representative films, (2014) and (2012). As a result, it is found that Wes Anderson created a symmetrical composition with the depth by placing symmetrically things on the Z axis or using one-point perspective. In general, symmetrical composition is a two-dimensional form. The symmetrical composition in these two films, however, has the depth perception. It gives a sense of the fantastic world, not the real world. Thus, it is the unique way of Wes Anderson's expressing the world of the fairy tale on his films. It is also found that he used the camera work, emphasizing the depth of the image. Through these devices, Wes Anderson has created his own sensational mise-en-scene for a storyline like a fairy tale.