• Sijohaknonchong
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• v.30
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• pp.9-20
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• 2009

The purpose of this study is to consider factors such as one's sight of viewing afar, expressional principles, and basic aesthetic category, which are treated importantly by the poets of the Joseon Dynasty era in appreciating nature. 'Afar' of the viewing afar is actual distance and aesthetic distance at the same time. Viewing afar is to find geographical features, depth, and details of a mountain, seeing the whole nature at a high place. Also, it can make possible escape from the external limitation of nature and get mental superiority and enhancement. Ultimately, viewing afar is to find out everlasting change of the nature and reason of natural creation. One's sight in viewing afar makes an appreciator's mind empty and calm, and it makes chance to harmonize human with nature. Viewing afar is to unite human nature to naturality beyond realistic value, idea, and artificiality. The mind from viewing afar has peacefulness and it is a state of serenity without any secular atmosphere. Viewing afar is an eye for beauty to leap toward an endless free state from narrow sight about objects. It rejects modification and technics in achieving an world of harmony. It means that objects should not be restrained by human's recognition. There are three expressions, which are high, horizontal, and transcendental viewing afar. The aesthetic category and beauty of peaceful mental state are realized by the expressions. The peaceful mental state makes peaceful mind from realistic conflicts and makes us experience a profound reason of nature.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.67-77
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• 2014

This study focuses on clarifying narrative strategy of the epilogue system of TV nature documentary. TV nature documentary epilogue system is different from making film. Because it has stories about production team's daily life and incidents while they make films in nature. Therefore, TV documentary epilogue system has distinctive narrative features comparing to the documentary itself. This study analyzes into the distinctive narrative features of TV documentary epilogue system. According to Frye, there are four types of narrative based on narrative structure. 'The tears of Antarctica' has achieved reconciliation between nature and human by it's narrative structure of comic romance and comic character. Therefore, comic romance's narrative features of TV documentary epilogue system overcomes tragic features of the documentary itself.

• Cross-Cultural Studies
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• v.39
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• pp.287-308
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• 2015

Biographical film is a genre narrativizing the actual person and history, and reproducing the character and history in a biographical film is in a dimension different from a film focused on a fiction. Discussion between these methods of narrative composition and image reproduction in a biographical film is also, in line with artistic/aesthetic problems and ethical/philosophical theses of the film text. This study discusses the phase of the way of reproduction of the actual person, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ in the biographical film, The Golden Era and the time she lived in a biographical film and how the audience's discussion of the film and socio-cultural discourse differ depending on their attitude towards the cinematic introspection of the text. The narrative structure, the method of image reproduction and cinematic devices of the film, The Golden Era are completely off the point of the general format of the traditional biographical film. In The Golden Era, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and the history which she lived in did not revive depending on an omniscient subject's selective statement and meta-film structure. Ann Hui removed general, mythic images of $Xi{\bar{a}}o$ $H{\acute{o}}ng$ formed in the field of traditional Chinese culture and reproduced her through multilateral visions of a real, fictional narrator. Each spectator's judgment and interpretation of the film intervene in the multi-layered and sparse descriptions of the actual person's images and the era of the characters. Through this, it is possible to approach the uniqueness and authenticity a historical character, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and to have an opportunity of multi-layered reflection on how to secure a critical distance and make a perception in historical judgment.

• Journal of Digital Convergence
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• v.15 no.6
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• pp.399-406
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• 2017

Contrary to the fact that the old films contain artistic and include contemporary literature, religion, and philosophy, latest films are produced with focusing on external interesting composition and sensational scene. A good movie emotionally express the directors' topic message exuding from an interesting story, and empathize with the social agenda which shows a sharp look of the directors' on contemporary social aspect. In the movies of the Coen brothers, it seems like an entertainment movie as typical black comedy genre through irony and happening, but in fact, it inserts a lot of social problems in the film to show that they cynically express their social agenda from a contemplative view. In their movie "The Big Lebowski (1998)", it seems like they are creating comical content through the main characters' unaffected attitude. However, it is director's excellent director of the sub-text that expresses American social issues such as Vietnam war, post-modernism and an obscurantist policy and au fond the comedy about the historical facts of mass production of social maladjustment into black comedy. We expect to contribute to make a step forward in the Korea film industry by analyzing such movies that has the cultural power of influence.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.1-11
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• 2010

This study examines the authentic meaning, location, garden layout, and structural characteristics of Suwoojae(守愚齋), the birth house of Garam Byungi Lee, which was the very epitome of the traditional house structure based on literature review, field survey, and the existing measured drawings. The followings explain how rusticity and spirit of scholars, the core concepts of Garam's poetry, were featured in structural and spacial arrangements of Suwoojae as well as its location and physical layout. 1. Suwoojae is enclosed by Cheonho mountain which fans out of Noryoung mountains in East and located on the tail of Yongwha mountain in West. It has proved to be Yangtack Myoungdang according to the Poongsoo theory, Inguljiryoungron; The energy of earth at a certain location results in the better fortune together with the energy emitted from human body. 2. Suwoojae is an official local monument which was built in 1844, late Joesoen Dynasty by Joheung Lee, Garam's grandfather. Some parts of inner-structure connect with the kitchen in the shape of called Gopae. Suwoojae consists of 4 Sarangchae, 3 Gobangchae, and a Jangdokdae behind Anchae. 3. Since inner and outer walls of Suwoojae are distinctly separate from the main structure, its look varies significantly from different angles. Suwoojae, in its entirety, discloses Garam's philosophy, ideas, and ideology on life and the universe. 4. Apricot trees, Japanese-magnolias, aromatic-trees, crape myrtle, white-magnolias, camellia-trees were planted on the left of the walls, and persimmon trees, jujube trees, plum trees, quince trees were at the inner-yard. Especially, trifoliate orange trees a natural monument of Jeonrabukdo draw substantial attention from visitors. 5. The main garden facilities are located in front of Sarangchae: A rectangle pond(14.72m in length and 3.87m in height), the surroundings of the pond and Anchae, rocks that have distinctive shapes. In general, the garden was designed to incorporate the scenery around Suwoojae as a part of its structure and contain the love for nature and aesthetic sense. 6. It seems that the natural surroundings of Suwoojae had helped form motives of Garam's poetry and assisted him in finding subject-matters and identifying the themes of his works. This is well revealed in his poem, Seungwoonjungee.