• The Journal of the Korea Contents Association
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• v.8 no.1
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• pp.367-376
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• 2008

The purpose of this essay is to check what are the problems of the current Korean independent films and to find the solutions for effective circulation of the Korean independent films in terms of its intimacy to public. For this, I would like to define 'independent film' and 'its ambiguous distinction', and then I presented the current issues of the Korean independent films and suggested the alternatives of the effective circulation of its production and distribution. Independent films can be defined through our understanding and identification, and it is significant of mutual communication with the audience, so that I will classify the cases of box office of the independent films. The effectiveness of production can be suggested by lower budget and many financial supports, and the effectiveness of distribution is to have many occasions to release, to benefit with them and to release in many festivals. The effort of independent filmmakers, mutual communication between filmmakers and the audience, and the official supporting system will make it possible for effective production and distribution. With this possibility, the future of Korean independent film will be bright.

• The Journal of the Korea Contents Association
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• v.14 no.10
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• pp.486-505
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• 2014

is the winner of Grand Jury Prize in World Cinema-Dramatic at Sundance Film Festival 2013 and made high Box Office performance in Korean Indie Film distribution. tells the story of the horrific massacre of 30,000 civilians at Jeju Island in Korea in 1948. Civilians were killed by Korean Army under the supervision of U. S. Army and by the Korean Communist partisan. From the Statistical Style Analysis, has a lot in common with Ming-liang Tsai's movies and similar traits of art cinema. According to David Boardwell, Art Cinema is intensify the traditional continuity through selection and concentration rather than become the Alternative, Oppositional film practice of Mainstream Classical Hollywood Cinema.

• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.100-107
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• 2013

Agn$\grave{e}$s Varda is a French representative female film director. In particular, the method combining subjectivity and objectivity is the most outstanding characteristics. However, it can be said that the method to support this is not only theme of the film but also creation of structure including the exploration for the filmic form different from classical film form. Such an approach accords with No$\ddot{e}$l Burch's refined analysis of filmic form. Therefore, This study aims to aesthetical analysis of the form of producing the structure in modern movies through which is one of the representative work by Agn$\grave{e}$sVarda and won the Golden Lion award in 1985 Venice Film Festival. The theme of the film, the recovery of relationships among people and contacts through the tragic death of drifting life, created a new filmic structure by formative experiment of the film. The formative experiment is the fragmented and repetitive construction with the introductory voice-over, and consists of movement and editing of camera and specific use of flashback and sound through the representation of figures and situations, mixture of narrative and non-narrative style.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.93-105
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• 2012

Dardenne brothers' films deals with minorities' issues who are shoved out to periphery of society, and especially takes interest in value-deprived human life in labor market of today. This study examines such social awareness of Dardenne brothers targeting their latest works awarded in Cannes Film Festival, , , , , . And analysis is attempted about Dardenne brothers' unique formal aesthetical style that exactly captures such social awareness. In Dardenne brothers' films a person shows up who faces abject matter of living. Their agony is closely connected to unemployment, and shows images of irresistible anxiety and alienation. Dardenne brothers' images are not only simple platform with contents embodied, but designed form showing essential thematic consciousness. Location and gaze, motion of camera capturing a character makes us to reflect the situation a character is facing in the world. There are almost no regard about plots, no dramatic devices, superficial and even straightforward, but Dardenne brothers' films have such independent formal aesthetic, which makes able to give endless tension.

• The Journal of the Institute of Internet, Broadcasting and Communication
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• v.12 no.1
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• pp.283-294
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• 2012

Recently increasing usage of smart phones so, the application field of convergence industry between IT technology using smart phone-based mobile communication networks and other industry branches is expanding. In addition, R&D technologies in other fields are applied to smart phone applications effectively in order to develop products and support daily life more convenient. However, it is very hard to control these products and there is no efficient solution for this problem when many people are sent to specific area for big events, such as Biennale, Film Festival, EXPO, and so on. In order to solve this problem, this paper describes a network-based ticket reservation system and its organization using augmented reality on smart phone and mobile communication networks. In particular, we propose a method of designing and developing prototyping system based on smart phone application design technologies, prior to developing real smart phone application.

• Journal of Digital Contents Society
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• v.18 no.5
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• pp.849-858
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• 2017

With the fast improvement of software and hardware technology of Virtual Reality, VR(Virtual Reality) film get attention for the new possibility of future film. Already, the production of virtual reality film festivals and Hollywood films is highly active, but it is still poorly related to virtual reality films in Korea. Due to this, this research analyze VR film with Realism films and Post-modernism films in four aspects that are film's frame(Mise-en-$Sc{\grave{e}}ne$), shot(montage), vew point and interactivity to deduct characteristics of VR film. Moreover, we also deduct an esthetical characteristic of VR films beyond the Realism films and Post-modern Films through analysing various VR films. This can be said as 'Digital Realism' that is come from the viewers' positive interaction and realization of Realism through Virtual Reality technology. There will be a successful development of VR film based on this research that analyse suitable directing method for Virtual Reality environment. At last, this research focused on characteristics of digital realism aspect for HMD based first person view VR animation .

• The Journal of the Korea Contents Association
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• v.3 no.2
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• pp.1-10
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• 2003

A semiotic approach to modem visual arts has emerged since French post-structuralism was introduced to Anglo -American academics by "deconstruction" or "postmodemi sm." It views a work of art as a sign, which is its math odical assumption and, at the same time, makes its appli cation more accessible. In the milieu of modem visual arts' effort to be intimate with general audience, modem art photography is now fared with the request to be a familar and universal domain, instead of being left only in photo books as artistic and academic achievements. More specifically, various photo images puter graphics to such megaexhibitions as "Gwangju Biennale,. "Media City Seo ul," and "Pusan International Art Festival," are main objects of study. A coherent and scientific analysis of visual semitotics is still on the way, however, it is an urgent task how to read and interpret a photo image with multiple meanings. This study argues that visual seniotics can be a powerful tool to enhance the understanding of art photography. After all, seniotics is a product of age； we live in the age of legibility, that is, of reading the work of art well as the social events and phenomena. art well as the social events and phenomena.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.10a
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• pp.625-628
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• 2009

Busan was wasteland of visual industry, But It has been undergo a complete change visual industry city since It was started 1st Busan International Film Festival(PIFF) in 1996. It promoted Cineport Busan, 1st step. promotion age 'good city film' 2004, 2nd step. settlement age 'good city produce movie' from 2005 to 2007, now 3rd step. development age settle down visual industry and progressing project for make importance place produce movie. so, employment problem of region visual human resources. It is indispensable element for become real region industry in visual industry. So that, this study analyzes what is problem of visual industry and human resources in Busan city. Then inquired what will happen supply region visual human resources through visual importance city Busan development plan.

• Journal of Industrial Convergence
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• v.16 no.4
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• pp.19-25
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• 2018

The purpose of this study is to understand the reactions of viewers to the scene of violence (homely violence, verbal violence, tools violence) and to consider factors to consider when producing violent movies and suggest some implications. The implications of this study are as follows. First, film producers can be more realistic in dealing with disputes and controversies in the home than in the overall contents of the film. Second, when film producers put verbal violence into the film, they would rather not use excessive verbal or profanity, but rather use a verbal that would not make the relationship between the films strange. Finally, film makers should use some tools to mosaic the tools used to express violence to others, thereby reducing some of the cruelty expressed in movies.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.332-343
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• 2021

This study shows that reality in interactive documentaries can be distinguished between narrative reality and visual reality, which can be defined as a feature of reality-based interactive documentaries. This study reveals the visual reality in that all audiences who visually watched "The Maribor Uprisings" were immersed in the movie presented by the producer, and thus sympathized with the problems of non-violent protests and social conflicts through two-way communication between the audience and the actors. This study also confirms that epic reality in that it can selectively participate in the narrative of movies through questions about democracy in action. Besides, this study finds that the reality expressed in the interactive documentary deepens the audience's 'immersion', showing that the direction of the narrative can be determined by reflecting the opinions of the audience on an event or narrative of the movie. In this process, the audience was found to have the characteristics of being able to recognize and rediscover events in the movie as if they were close to them.