• Cartoon and Animation Studies
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• s.20
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• pp.87-104
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• 2010

Animation creates meaning and affection by combinig image and sound like film. directed by Yuri Norstein is a good text for analyzing animation sound in that it combines image and various music and sound effects well. This study focuses on analyzing the way that sound function to make meaning in this text. Generally sound is categorized into dialogue, music, and sound effect. And animation has its own characteristic in each category. The voice for dialogue is created corresponding to the image of the character and the rhythm is very important in Animation. Plus Sound effect in animation can be said to mimic not just sound but also movement. This study analyzes sound based on three sound factors and the concepts of the point of listening, subjective sound, and sound bridge. Subjective sound using the point of listening of the wolf and the baby bestows a special position on the main characters in the text. It is the overall characteristic of the sound use of this text that the repetitive combination of sound and image, the linguistic and annotative function of sound effect, and comparatively conventional use of music and sound effect enhance the affection and readability.

• Journal of Digital Convergence
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• v.10 no.10
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• pp.491-496
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• 2012

This study tried to analyze symbolism of the work from the title by looking into its linguistic meaning. The title not only exposes artist's thoughts but also speaks for the work subject. Also, it designates the world composed of characters in the work, and further it can be said as endowing overall meaning on the entire work by suggesting possibility of limitless meaning invention as well. As a result of reviewing the symbolism shown at the title after analyzing such points through linguistic contexts, the title named with Adam's language was used for just expressing the essence of characters in the work by transcending time and space, and the title meaning exposed relational aspects between characters and occurred accidents through the association process on 'signifiant' and 'signifie.' These relational aspects are expressed to mutual contraposition, but their relations finally show another one orientation too. In case of the title made by the arbitrary nature of language, a fact could be known that it was results of customs completely unrelated with the practical work and depended on the experience by any accident as being appeared from cultural background of the country where the work was produced. Also, the signification of language occurred in unique regulations and systems, and it was relevant to seeing things through concepts. The proper noun was disappeared, and the symbolism was given again from relational aspects accordingly. It was turn out that similarity between the work and title contained contents of entire work, and played a role of expressing greed in the narrative briefly.

• Trans-
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• v.7
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• pp.81-101
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• 2019

Interviews are so important and meaningful that it is the heart of the documentary. In narrative film, it is focused as the story discourse, whereas documentary is strong in disclosure, which consists of narration and interview. In a TV documentary, interviews use conventional shots repeatedly, whereas in a documentary film that targets a relatively large screen, the interviewer's Mise-en-scene should consider the aesthetic depth. , which released in 2017 and used the audience for the third time in documentary film history, tries to make 40% of the volume of the main volume equal to the same angle. In a TV documentary, it is not uncommon for an interview cut to exceed 30 seconds, and if it exceeds 1 minute, immersion is significantly lowered, so the a mount and compression of the interview disclosure is important for both the director and the audience. In the case of the interview sequence of , it was the key to communicate the sub-plot with a relatively focused with long discourse, which is at least 8 minutes and 30 seconds to a maximum of 11 minutes, in a way that allows the audience to communicate. Furthermore, it was produced after the death of the protagonist Roh Moo Hyun, with the limitation that the voice of the protagonist was excluded, and the voice of Roh Moo Hyun was indirectly reproduced through the surrounding characters. In this study, it covers the meaning and scope of interviews in the production of documentary, and the aesthetic applications of the Mise-en-scene.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.87-95
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• 2013

"Gone with the wind"(1939, Directed by Victor Fleming) was produced in the stylistic conventions of the classical hollywood cinema, and thus the musical employment also followed the norms of the style, such as late Romantic musical style, serving the narrative, signifier of emotion, and giving continuity and unity. But, at the same time, the statement of the classical theory that the music hides and tailors itself to support the drama - invisibility, inaudibility, narrative cuing and so on - does not seem to explain the musical employment of "Gone with the wind." On the contrary, it hires music to put itself forward, and often times it stops the narrative to show musical spectacles for which the image is tailored to fit the music. These are more of music theatre or music drama features rather than the conventional underscore of the films in that period. In this study analysed the musical employment of "Gone with the wind" to see how it took full advantage of music to lead the narrative in a more active way and to make musical spectacles, by borrowing the technique and style of music theatre, such as, overture and entr'acte, similarities with film musicals, Wagnerism influence, and the use of songs.

• Trans-
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• v.4
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• pp.87-109
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• 2018

The genres of fantastic of Korean films created in the 90s are diverse. The fantastics of these works are not manifested only in 'Ghosts' movies. For example, If the film Mystery Of The Cube, which is based on the mystery of Lee Sang, has a story of structuralist fantasy, we can say that a movie like Tell Me Something has a psychologically conventional fantastic. This study examines the fantastic of contemporary Korean films through 'completion of allegory based on realism'. For this, we borrows the fantastic concept of Etienne Souriau. In some films, fantastics can be found directly in the developing nature. In this case, the human being who justifies their domination of nature by upgrading their position as the objectifying subject of nature becomes 'alienated' in return. The notion of this alienation in film narratives is often revealed through allegories, particularly in the manifestation of fantasy by Étienne Souriau in the early 'personal experience'. Kim kiduk's film is a representative example of allegorizing elements of society through individual experience. Focusing on Kim Giduk's Bad Guy, this essay analyzes the process in which fantastic films of Korea in the 90s build up aesthetic fantastic through imitation of society.

• Cartoon and Animation Studies
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• s.38
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• pp.53-70
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• 2015

In industrialized societies throughout the 19th and 20th centuries, Over Produced and Mass consumption images were constantly shown to people via Mass-Media as means to provoke one's desire. Frank Mouris, the American independent animator, captured and showed the infinite nesting of industrialized image with his autobiographical story through his work (1973) and made it as an intense visual flow. This innovative art animation has broke the traditional form of narrative animation and won the Annecy Animation Festival Grand Prix and the Academy Awards in 1974. This was also selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant in 1996. This study explores and shows that how these a-half million images to express Franks Mouris's autobiographical story in could be analyzed by the concept of Walter Benjamin's 'dialectical images'. Typically, the term 'dialectic' need to be formed by contradiction or opposite concept in the basic principles, but a dialectical image of Benjamin could be formed without any opposite concept while maintaining the uniqueness of each new relationship of the past. Benjamin's dialectical images are no longer stay in the historical past, It always meets with the present when someone realizes the past in the present moment. I suggest three different aspect according to Benjamin's point of view to analyse this animated film such as 'Historical-dialectical imaging of private/collective memory', 'Reconfiguring of present through analysing the relationship between the image flows and its own time/space', and 'Old future over the existing fragment and the presence of fragment. has the great value not only to present the experimental and innovative aesthetics of animated film, but also to show an analysis of contemporary culture and social aspect in mid-20th century. This study is to explore the diversity of animation representation, aesthetics, and also to suggest a new aspect of animation studies.

• (The) Research of the performance art and culture
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• no.32
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• pp.651-700
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• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.