• 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.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.364-371
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• 2018

In the 1960s, both South and North Korea needed to stabilize their regimes, and propaganda films were at the core of establishing this purpose. South Korea claimed legitimacy of a military government and called for service to fulfill the government's mission of the era, while North Korea emphasized the impeccability of their leader and the superiority of their socialist system. This study investigates image reproduction strategies used in South and North Korean propaganda films at the time under the context of domestic and foreign environments in the 1960s. First, South and North Korea portrayed their rulers as a strong leader and friendly leader, respectively, to establish legitimacy. Second, South and North Korea tried to image the same incident from different views in order to instill the spirit of age defined from their own perspectives. Third, propaganda films at the time portrayed desirable images of citizens (people) and visualized a flawless government. Authoritarian governments in South and North Korea in the 1960s facilitated the establishment of the so-called official society through propaganda films.

• Trans-
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• v.11
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• pp.37-63
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• 2021

This paper focused on documentaries and for specific places and described the documentary shooting methodology from the perspective of a Cinematographer. 'Old Seoul Station' and 'DSME' (DAEWOO Shipbuilding & Marine Engineering Co., Ltd.) are monumental spaces that reflect the value of Korea modernization and are shared by Koreans' collective memories, unconsciousness, and unique feelings for the place. 'Old Seoul Station' has changed its place identity to a new space called "Culture Station Seoul 284." 'DSME' is a large-scale industrial complex that still functions actively, and it is like an organism that seeks to change according to changes in its industrial structure. and observe and record images of space related to place identity and the people related to it. It shows the construction of staring into a space in a particular place and continuously recording and placing moments of experience, such as the appearance of people working and resting. If it is not recorded through this, it allows us to see intangible narratives related to volatile place identity, and enables specific place experiences through theaters. This study focuses on production theory based on examples of documentary filming methods for these specific places.

• Proceedings of the Korean Society for Emotion and Sensibility Conference
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• 2000.11a
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• pp.131-135
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• 2000

본 연구에서는 연령·조명·프로그램 종류에 따른 TV 최적 화질의 설정치를 규명하고, 최적 화질에 대한 감성구조를 규명하는 것이 목적이다. 아동, 성인 그리고 노인이 실험에 참여하였고, 세 가지 조명 조건에 따라 영화, 만화영화 (애니메이션), 드라마, 다큐멘터리의 화면이 제시되었다. 실험 참여자들은 화면을 보는 동안, 리모콘을 사용하여 가장 만족스러운 화면을 설정하였다. 또한 설정한 최적화질에 대해 감성을 평가하였다. 그 결과, 연령·조명·프로그램 종류에 따라 최적 화질에 대한 설정치가 다르게 나타났다. 화질에 대한 감성구조는 두 차원 (쾌-불쾌 및 감각특성, 미적특성)으로 나타났으며, 연령에 따라 감성구조가 다르게 나타났다.

• Trans-
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• v.14
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• pp.93-122
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• 2023

Children's films can be found by country and region within the scope of world films, but children's films have different definitions depending on the country and region. For example, American children's films represented by Disney are mainly aimed at satisfying the joys of children and families.Chinese children's films place more importance on the educational role of children. Although the purpose is different, children's films in the general sense are films that main audiences are children and are created for children. Children's films in Iran differ greatly from ordinary children's films. It indirectly expresses the creator's intention by reflecting reality while looking at the adult world through the eyes of children. This special function is a children's visual language that indirectly conveys the creator's thoughts. The use of children's perspective is a kind of special strategy, paving the way for Iranian films to survive in a special creative environment, and creating unique characteristics of Iranian films. Among the numerous Iranian directors who make children's films, Majid Majidi is one of the representative directors with personal characteristics. Of his nine Iranian films written and directed, five are children's films.At the same time, in his other Iranian films, we can more or less see the traces of children and children's perspective of the narrative and performance.Looking at the use of children's vision in Iranian films, the use of children's vision in Iranian films began with children's films and developed in Iranian children's films and other genres of Iranian films.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.38-50
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• 2013

This paper analyzes director Yang Yong-hi's documentary films "Dear Pyongyang"(2006), "Goodbye, Pyongyang"(2009) and her fiction film "Our Homeland"(2012). These films were produced on the base of the director's autobiographical experience, and raise issue of Jainichi-Korean diaspora who be caught in nation-state; North Korea, South Korea and Japan. With the family narratives crossing Jeju, Osaka, and Pyongyang, these films doubt boundaries be set by nation-state, and seek new breakout space. This paper traces restructuring identity in the tensional heterogeneity of nation-state exaction; Integration, unity, uniform education. In conclusion, these films foresee Korean diaspora's future identity from hybrid identities. It shows Korean diaspora's potential of receptivity, openness and solidarity which are required for Northeast Asian peace and the solution of two Korea's hostility.

• Cross-Cultural Studies
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• v.48
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• pp.289-323
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• 2017

L'Espoir, a novel by Andre Malraux, contains traits of the genre of literacy reportage that depicts the full account of the Spanish Civil War as non-fiction based on his personal experience of participating in war; the novel has been dramatized into a semi-documentary film that corresponds to reportage literature. A semi-documentary film is the genre of film that pursues realistic illustration of social incidents or phenomenon. Despite difference in types of genre of the novel and the film L'Espoir, such creative activities deserve close relevance and considerable narrative connectivity. Therefore, $G{\acute{e}}rard$ Genette's narrative discourse of novel and film based on narrative theory carries value of research. Every kind of story, in a narrative message, has duplicate times in which story time and discourse time are different. This is because, in a narrative message, one event may occur before or later than another, told lengthily or concisely, and aroused once or repeatedly. Accordingly, analyzing differing timeliness of the actual event occurring and of recording that event is in terms of order, duration, and frequency. Since timeliness of order, duration, and frequency indicates dramatic pace that controls the passage of a story, it appears as an editorial notion in the novel and the film L'Espoir. It is an aesthetic discourse raising curiosity and shock, the correspondence of time in arranging, summarizing, deleting the story. In addition, Genette mentions notions of speech and voice to clearly distinguish position and focalization of a narrator or a speaker in text. The necessity to discriminate 'who speaks' and 'who sees' comes from difference in views of the narrator of text and the text. The matter of 'who speaks' is about who portrays narrator of the story. However, 'who sees' is related to from whose stance the story is being narrated. In the novel L'Espoir, change of focalization was ushered through zero focalization and internal focalization, and pertains to the multicamera in the film. Also, the frame story was commonly taken as metadiegetic type of voice in both film and novel of L'Espoir. In sum, narrative discourse in the novel and the film L'Espoir is the dimension of story communication among text, the narrator, and recipient.

• Cartoon and Animation Studies
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• s.36
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• pp.511-551
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• 2014

This study has examined genre tastes of Hollywood movies in Korea. A concept of cultural discount suggests that Hollywood film in foreign countries would be received differently according to its specific attributes. Following the suggestion of cultural discount, this study examines how local reception of Hollywood movies is different in Korea, focusing on film genre, production budget, and U.S. box office. The results show that genres are useful variables for such analysis, indicating that certain film genres are indeed suffering from relatively high cultural discount at the level of Hollywood movie import/distribution. Comedy, specifically, constitutes the crucial particularistic movie genre. However, this study does not find out any significant effect of movie genres on the box office in Korea, controlling the effect of U.S. box office and production budget. As Hollywood studios have recently produced multi-genre movies rather than genre-specific movies to induce a variety of audience who have different movie tastes, the influences of cultural discount disappeared among imported Hollywood movies in Korea. This study also reveals that Hollywood movies of high production budget and of successful U.S. box office are more preferred in Korea.

• Journal of Engineering Education Research
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• v.19 no.5
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• pp.57-64
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• 2016

This study is about interdisciplinary education model of using Davis Guggenheim's documentary film on global warming which is a big concern in climate change issues, An Inconvenient Truth. It based on Al Gore's slide speech. Through a course student analyzed the cause and phenomenon of global warming resulted from increase of $CO_2$ by using fossil fuel and its environmental science effects-heat wave, desertification, tornado, hurricane, sea level rise caused by melting glaciers, destroying ecosystem like habitat degradation of wild animals, for example polar bear, extreme cold wave caused by change of ocean currents- of global warming. After, student discussed of efforts to prevent global warming. This educational model is appropriate for lower grade student of environmental engineering and also available for converged majors or general education class.

• Journal of Digital Convergence
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• v.17 no.7
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• pp.299-309
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• 2019

The purpose of this study was to look at the relationship between perpetrators and victims in Joshua Oppenheimer's Act of Killing. The theoretical tools used for this purpose were to study $Ren{\acute{e}}$ Girard's "Mimetic desire" and Hannah Arrent's "banality of evil" and to look at $Ren{\acute{e}}$ Girard's theory of "Le Bouc emissaire". The meaning of the study used the reproducible narrative of the film to challenge the reproducibility of past genocide and seek the combination of documentary and fiction as a way to show the truth. Also, the reconciliation between the assailant and the victim is meaningful in securing 'neutrality of fairness'.but they are still lacking, and more in-depth studies will need to be conducted in future further studies.