• Proceedings of the Korea Contents Association Conference
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• 2004.11a
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• pp.116-120
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• 2004

As the first, about symbol and metaphor of visual culture animation, I research what is the de-centered reading focused on relationship between the semiotics text and the audience. Secondly, I will study about an animation text and their relationship within it's metaphor, animation work's analysis and art directed intension(and process) on aesthetic view as a visual representation.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.315-329
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• 2014

The purpose of this study is to examine a direction for contents choice and transmission strategies of radio literature reading programs. For this, 129 picturebook contents used for EBS program of "children books for adults" in recent 6 months were collected and analyzed quantitatively and qualitatively based on Nicholajeva's societal and aesthetic approach. In terms of external literary elements, there were unequal distribution of published period, nation, company and genre. In terms of literary inner factors, they were excellently reflecting the stream and the tendency of modern children literature. Finally, in the process of turning visual texts into auditory texts, the program used diverse auditory transmission strategies. Based on these results, it is suggested that this program need to take into account reforming the contents selection practice to provide abundant literary experience for listeners and sophisticating the transmission effects adapted for a digital era.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.105-114
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• 2013

The purpose of this paper is to explain the operation and meaning of the narrative, which is one of the main principles for the contents construction, especially focusing on the concepts 'difference' and 'desire'. The classical aesthetic taught us that the differences between diverse characters and reality models are the effective strategy for the reading the story. But this paper focuses on the structural difference of the event (story) and performance (discourse) of narrative, which are regarded as the basic condition of narrative. This difference is to describe in terms of the media theory and psychoanalysis. This paper also seeks to interpret the recent korean film to exemplify that the creation of difference for the fulfillment of desire is the basic element of the narrative constitution.

• (The) Research of the performance art and culture
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• no.35
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• pp.373-404
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• 2017

As an art, Korean dance is a history, a tradition, and a continuing activity of consciousness. It is a present and future activity in the past that will continue the identity of Korean people. So storytelling is not just a description of the historical background, but of eternity that is being recreated. From this study, the inquiry of artistic beauty of Korean traditional dance is questioning the original essence and value of 'storytelling' through old tradition and historical art. If the study of the Korean dance among them was a study of the theorists for the aesthetic essence or the ideological system, the point of view of the storytelling of the Korean dance is that the public understanding about the core structure and reason of Korean dance and the study of the humanistic value It reminded me of a desperate attitude. The meaning of this study is to verify the usefulness of storytelling as a way to construct various contents of Korean dance in conceptual definition of storytelling. In the symbolic meaning of Korean dance, Cheoyongmu text formed the deep meaning network of the original art beyond the linguistic narrative structure and suggested the importance of storytelling development as DB of original contents.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.217-247
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• 2019

This research paper intends to examine the intertextuality of Klaus Mann's novel Mephisto (1936) and István Szabó's film Mephisto (1981) and how the derivative contents (i.e., film) accepted and improved the schematic aesthetics of conviction in original contents (i.e., novel). In general, the aesthetics of conviction is applied to criticize the state socialism of the artists of the Third Reich or the ideology of the artists of East Germany from a biased ethical perspective. Mephisto is also based on the aesthetics of conviction. Thus, it would be meaningful to examine the characteristic similarity and difference between Klaus Mann's real antagonist (i.e., Gustaf Gründgens) and fictional antagonist (i.e., Hendrik Höfgen) from a historical critical perspective. In this process, an aesthetic distance between the real and fictional antagonists would be secured through the internal criticism in terms of intertextuality. In this respect, the film aesthetics of István Szabó are deemed to overcome the schematic limit of the original novel. The conviction in both the novel and film of Mephisto pertains to the belief and stance of a person who compromised with the state socialism of Nazi Germany, i.e., succumbed to the irresistible history. Klaus Mann denounced Mephisto's character Höfgen (i.e., Gründgens in reality) as an "Mephisto with evil spirits" from the perspective of exile literature. For such denunciation, Klaus Mann used various means such as satire, caricature, sarcasm, parody and irony. However, his novel is devoid of introspection and "utopianism", and thus could be considered to allow personal rights to be disregarded by the freedom of art. On the contrary, István Szabó employed the two different types of evil (evil of Mephisto and evil of Faust) from a dualistic perspective (instead of a dichotomous perspective of good and evil) by expressing the character of Höfgen like both Mephisto and Hamlet (i.e., "Faust with both good and evil spirits). However, Szabó did not present the mixed character of "Mephisto and Hamlet (Faust)" only as an object of pity. Rather, Szabó called for social responsibility by showing a much more tragic end. As such, the novel Mephisto is more like the biography of an individual, and the film Mephisto is more like the biography of a generation. The aesthetics of conviction of Mephisto appears to overcome biased historical and textual perspectives through the irony of intertextuality between the novel and the film. Even if history is an irresistible "fate" to an individual, human dignity cannot be denied because it is the "value of life". The issue of conviction is not only limited to the times of Nazi Germany. It can also be raised with the ideology of the modern and contemporary history of Korea. History is so deeply rooted that it should not be criticized merely from a dichotomous perspective. When it comes to the relationship between history and individual life, a neutral point of view is required. Hopefully, this research paper will provide readers with a significant opportunity for finding out their "inner Mephisto" and "inner Hamlet."

• Korean Association for Visual Culture
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• v.35
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• pp.5-33
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• 2019

This paper examines the problems of the concept of 'analogon' which occupies an important place in Jean-Paul Sartre's theory of imagination and his 'aesthetic of the unreal', focusing on Michel Dufrenne's objection to the concept. In the Imaginary (1940), Sartre offers a phenomenological account of the imaginative experience and his theory of imagination provides the basis for his account of experience of art. Sartre distinguishes the imagining consciousness from the realizing consciousness of perception. The work of art, for Sartre, is transformed into an irreal thing ("The work of art is irreality."), i.e. it appears only as aesthetic object, and only under the condition that the spectator's consciousness changes into an imagining consciousness. Some claim that Sartre underemphasizes the function of materiality in artworks. Mikel Dufrenne, in his The Phenomenology of Aesthetic Experience (1953), criticizes Sartre's thesis of irreality. Dufrenne argues that the aesthetic object is the work of art accomplished by aesthetic perception, the meaning of the aesthetic object is given as a whole in the sensuous and does not refer to something that lies outside the object as with imagination or irreality. An affective a priori is the condition of possibility for the occurrence of aesthetic experience.

• The Journal of the Korea Contents Association
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• v.21 no.1
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• pp.129-138
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• 2021

This study suggests user-friendly design fiction method applying user-centered design process. Design fiction is a method that predicts futures from design perspective with critical discourses and physical representation. It has been regarded importantly in HCI and interaction design realms as aesthetical and experiential approaches, yet not firmly established. Especially, it has not been considered from user-centered perspective which considers users and related problems. Anticipatory design based on current problems which predicts futures and defines design-oriented scenario is becoming significant. Therefore, this study regards design fiction method in relation to prior design also should consider user-centered perspective, not just experimental approaches. In this regards, this study tries to apply user-centered process, specifically affordances which lead more intuitive and direct impact on users into conventional design fiction process. This study led junior students in visual communication major into design fiction process with specific topics and the Design with Intent Toolkit amongst practices of creating affordances so as to develop new design fiction process with its diverse outcomes. Throughout the process, this study aims to suggest alternative user-friendly design fiction method beyond its critical and experiential approaches.

• Trans-
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• v.12
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• pp.245-274
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• 2022

The interactive cinema is based on the interactivity between the cinema and the audience. The discussion of interactive cinema can be divided into two poles. One is to positively look at the possibilities of interactive cinema as a new format and to test with them in various ways. The other is the perspective of a critical warning that the interactivity of interactive cinema risks reinforcing biases while instilling the illusion of freedom and activity in the audience. Considering both of these perspectives, we try to find a way to realize the political and aesthetic possibilities of interactive cinema through characteristic analysis. To this end, we analyzed the interactive film , which has received public and critical attention, based on Brecht's epic theater as a theoretical and practical reference. We analyzed the text/contextual characteristics of this work in three dimensions - an interactive multi-branching structure, a self-reflecting Mise en abyme structure, and an active enjoyment of the audience - and compared them with the epic theater theory. Through this, we examined the conditions and possibilities of interactive cinema as a new epic theater in the new technological/media environment of the 21st century.

• Archives of design research
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• v.16 no.4
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• pp.225-232
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• 2003

A German philosopher, Herbert Bolz predicted that the human way of thinking would be fundamentally and completely changed because of digital media and the 'Gutenberg-Galaxis', named by M.McLuhan which was symbolized of modern reason was doomed to be over. He thought that the limit of reason-centered European culture would be overcome by the up-to-date multimedia to revive the communication life. On this theory, he emphasized the emotional perception, 'aisthesis' which is original meaning of aesthetics. That is to say, he insisted on the restoration of communication media to enable the five senses' amusement condition mentioned by Kant. This thesis asserts that the representative hypermedia digital animation may play a key role to rehabilitate human sensibility pressed by reason centered modernism. Digital animation has the unique worth of Art that is firstly to deal with time and space and enable unlimited expressions and can communicate effectively as a characteristic synthetic medium which consists of intensive computer techniques. Based on the background, this thesis analyzes the possibility of the digital animation as a new medium. Especially, it is focused on the relations to the hypermedia theory of Norbert Bolz who is a media analyst and professor of a design college.

• The Journal of the Korea Contents Association
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• v.14 no.6
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• pp.26-33
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• 2014

From a film esthetic point of view, this paper deals with all the sound elements which are speech, noise, and music for the signification of sound in Hitchcock's . The speech makes a mental image auditory through voice-over, and sometimes it has the indiscernibleness of life and death to be incarnate. This paper has demonstrated that the noise also can mark punctuation-narrative boundary besides visual techniques pointed out by Metz, and it cites the sound of falling water which completes shower scene, offsetting a scream in audience's mind. In the music, desire and oppression are symbolized and they are making a dissonance. Upon occasion, the coexistence of two chords represents duplicity in Norman-mother. Also, the music may disappear in the way of silence, being mummified in the time paused. Thus, the common filmic signification of sounds in can be called reconceptualization of the image.