• Title/Summary/Keyword: 영화치유

Search Result 15, Processing Time 0.022 seconds

A Case Study on the Cinema Therapy Class - Focusing on the movie Life of Pi(2013)- (영화치유 수업사례 연구 - 영화 <라이프 오브 파이>(2013)를 중심으로-)

  • Hae Rang Park
    • The Journal of the Convergence on Culture Technology
    • /
    • v.9 no.4
    • /
    • pp.105-112
    • /
    • 2023
  • This study is an example of a Cinema Therapy class through the movie Life of Pi (2013). Cinema Therapy proceeds through the process of identification, empathy, projection, and observational learning through the cinema. Through research, students objectively examine the situation of the characters in the movie, identify themselves, and empathize with them. Students evaluate the situation of the character in the movie, and indirectly experience the hardships facing the character in the movie through the answer to "What would you do if I were the main character?" and think about what they would do. I admire the outstanding points of the main character and reflect on my life. Through this process, students examine the situation of their emotions and problems and specifically suggest ways to solve them. In the end, students' emotions can be fully healed through the movie. Healing through the cinema should start with the selection of the cinema in consideration of the healer's client. It is also necessary to sufficiently present a specific method of applying this. It is expected that the cinema healing plan will be able to develop further by presenting various healing methods in the future.

CHILD AND ADOLESCENT'S TRAUMATIC EXPERIENCES EXPRESSED IN MOVIES (영화에 나타난 소아, 청소년의 외상적 경험)

  • Kim, Jae-Won;Yoo, Hee-Jeong
    • Journal of the Korean Academy of Child and Adolescent Psychiatry
    • /
    • v.13 no.1
    • /
    • pp.30-37
    • /
    • 2002
  • The authors reviewed the child and adolescent's traumatic experiences expressed in movies through late 1950s to year 2002. The movies are roughly classified by 3 categories based on the methods that used to express protagonist's experience and to uncover the meaning that is implied, that is, an important motive of growth, a metaphor of socio-political issues, or merely an event to develop a drama. Movie is a product of repetition compulsion and an activity like symbolic play between creator and spectators through screen, which enables a kind of corrective emotional experience. The curative elements in movies were also reviewed. The authors suggest the importance of mutual communications between movie creators and psychiatrists because media images about psychiatric issues can make internal stereotypes in conscious and unconscious mind of spectators.

  • PDF

Research on Meaning of Planetary Dance in Cine-Dance (시네-댄스에 나타난 플래니터리 댄스의 의미 연구)

  • Choi, Kyung-sil
    • Proceedings of the Korea Contents Association Conference
    • /
    • 2013.05a
    • /
    • pp.149-150
    • /
    • 2013
  • 20세기 이후의 대량 생산, 대량 소비와 결부된 인간성 상실과 정신적 빈곤에서 오는 다양한 징후에 대한 묘약으로 떠오른 소통과 치유의 범사회적 공동체적 교감을 이끌어내기 위해 춤의 형식을 도입한 새로운 영화 장르인 시네-댄스에 나타난 플래니터리 댄스의 의미에 대해 고찰해 보았다.

  • PDF

Analysis on Creative Time and Space Production in Korean Cinema - Focusing on the Film - (한국영화에 나타난 창의적 시공간 연출 분석 -영화 <써니>를 중심으로)

  • Kim, Seong-Hoon
    • The Journal of the Korea Contents Association
    • /
    • v.19 no.11
    • /
    • pp.168-177
    • /
    • 2019
  • In cinema, a montage can be defined as temporalization. In reverse, it is evident that this method results in the spatialization of time. In movies, you are free to go to the past or future, see separated times together, and separate the same time into different ones. Therefore, in one aspect, time is turned into space, and on the other hand, space is turned into time. In conclusion, space in cinema inevitably expresses time. The movie the creative arrangement of time and space played a big role in making a movie that simply overlaps a story from high school to the present attract over seven million audiences. Director Kang Hyung-cheol used his unique film production language to transform boring into cheerfulness and stale to delight, and he helped the audience heal their wounds from their youth. He said, "The most important aspect of movie production is creating visual stories, and the background of such visual story is time and space." This paper aims at analyzing the creative time and space production of the director in the film .

A Comparative Study on the Forest Therapy Policies of Japan and Korea (일본과 한국의 산림치유사업과 육성정책의 비교·연구)

  • Bae, Young Mok;Lee, Yeonho;Kim, Sang-Mi;Piao, Ying Hua
    • Journal of Korean Society of Forest Science
    • /
    • v.103 no.2
    • /
    • pp.299-306
    • /
    • 2014
  • Japan and Korea have developed forest therapy policies, but their policies differ in several respects. First, Forest therapy projects are managed by local governments and residents in Japan, while they are operated by Korea Forest Service. Second, Japan adopts the certification system of forest therapy areas, emphasizes medical and scientific evidences, maintains the quality of forest therapy by inducing competitive participation of local governments and residents, and cultivates forest therapists through Forest Therapy Society. In contrast, Korea has adopted the licence system, improved institutional framework, and cultivated therapists, but it is at early stage. Third, Japanese forest therapy policy aims at regional development of the mountain villages, overlapping with other local policies. However, in Korea, the primary policy goal is to expand forest services and thereby having its own policy framework and being promoted strongly.

Relationship between Urban Identity and Time and Space - Focusing on , Zhang Lu's Film (도시 정체성과 시공간 구조의 관계 -장률(張律)의 영화 <군산: 거위를 노래하다>를 중심으로)

  • Cho, Myung-Ki
    • Journal of Popular Narrative
    • /
    • v.27 no.3
    • /
    • pp.151-191
    • /
    • 2021
  • This paper examines what is the content of Gusan's urban identity, represented by the film and how the contents and aspects of this city's identity interact with the structure of the films' discourse. weaves Gunsan and Seoul into continuously reorganized cities based on an interactive relation, rather than literal ones. Seoul in which the time for a film narrative is closed is converted into the starting point for tour to Gunsan. The both points in which audiences' ex post return occurs are the starting point for the time for the film discourse and the other point in which the title is suggested. The journey-type of the narrative structure in this film is a3-dimensional spiral-shaped, rather than a 2-dimensional circular regression. embodies the characteristics and the identity and apriority of two cities, based on such a spiral-shaped temporal and spatial structure. Seoul severs the relation between grand narrative/collective memory and small narrative/individual memory as an agnostic one, in other words, it is a city that cuts off cities, relations and memory and rejects the continuity of memory. On the other hand, Gunsan is a city in which both grand and small narrative and collective and individual memory coexist and both split and isolated mind are cured and mutually consoled. It describes Gunsan as the surplus space as a being for others, while expressing its identity as robust and literal thing. The film describes it as the field in which oppositional concepts such as historical interruption and continuity and spatial being for others and originality become 3-dimensional spiral ones, through the reciprocity between the narrative and the discourse structure. This paper has an implication, in that it examines how temporal and spatial relationship constituting the urban identity interacts with the structure of the film narrative.

Healing Effect of 'Creative Writing' on Individual and on Our Age - Focused on the 'Man of Darkness (Vampire)' Symbol - ('창조적 글쓰기'가 개인 및 시대에 미치는 치유적 작용 - '어둠의 남자(Vampire)' 상징을 중심으로 - )

  • Kye-Hee Kim;Ki-Won Kim;Eun-Seun Han
    • Sim-seong Yeon-gu
    • /
    • v.28 no.1
    • /
    • pp.1-49
    • /
    • 2013
  • This article started with 'encounter'. Both authors met around the middle of February and discussed the subject for the inhospital conference presentation scheduled at the break of June. Having conversation like "Movies similar to fairytales heard from childhood are standing out conspicuously among commercial films which are attracting audiences and receiving fervent response these days. This phenomenon is marvelous and mysterious." together, and sharing this and that, the conversation turned naturally to 'Bram Stoker's Dracula', 'Series of Twilight', and 'Warm Bodies', both authors found out the fact that we saw these movies in common with propound impression. Feeling our hearts beating high, bit of fear and hesitation followed simultaneously at the moment when both of us encountered the idea to choose subject of conference presentation related to this and expressed one in words. While preparing for the conference, presenting to others, and having discussion with the audience, our hearts have been filled with Presentation was finished after active discussion beyond fixed hour and it also brought audience (among those present) to show strong emotional response both positively and negatively. At first, we just had a thought to put aside the content of presentation, but we felt lack of something else, lingering in our minds. We finally decided to accomplish our work into an article leading to submission, based on the advice and recommendation from one of the audience. This article is a small 'creative writing' born by sharing both authors' passion and enthusiasm. In the first part of this article, we have introduced the dream of 31-year-old woman's which led to the 'creative writing' and spotlighted her personal life, before and after the dream. In the second part, we have examined the consequence (way of realization) and meaning of creative impulse shown from or experienced from personal unconsciousness (dream, fantasy) together. Creative impulse shown from the individual appeared to bring creative transformation of individual personality through the process of 'introversion'. Otherwise it also appeared to be delivered as a masterpiece through 'creative writing' or from the process of 'extroversion'. Sometimes both consequences happened at once. We tried to examine and interpret the dream of 31-year-old woman's, which was introduced in the first part of this article, that is to say, the dream of 'Stephenie Meyer's, the author of the 'love between vampire boy and ordinary human girl' themed novel 'Twilight Series', in a psychoanalytic perspective. In the third part, highlighting individual dreams and three different movies 'Bram Stoker's Dracula', 'Twilight Series', and 'Warm Bodies', we found the transformation of symbol 'Man of Darkness, vampire' seen in each individual dreams and in some specific popular arts, such as novels and movies, receiving fervent response from people. We also found love between this symbol and humane woman, bearing fruit together with very impressive change shown in the attitude of 'Man of Darkness' (vampire)'s conscious ego and mutual relationship pattern. We contemplated this phenomenon, the reason why these events happen, and what kind of association presents among these events, individual, and this era and discussed the effects on individuals and this era, at present. 'Creative impulse', originated in the deep structure of human mind is realized as a 'transformation of individual personality' or masterpiece through artistic creation. If it has a chance to make a match with this era, shared by a lot of contemporary people, it also appears to bring positive effect as healing and salvation to each individual or to each era. From this article, we mainly highlighted positive and healing aspects of individual 'creative impulse'. We hope to deal with the negative consequences and their reason coming from 'creative impulse', if the occasion arises, in the future with a new article.

Dasan Jeong Yak-yong's Self-Healing and his View of Happiness (다산 정약용의 자기치유와 행복관)

  • Jang, Seung-koo
    • Journal of Korean Philosophical Society
    • /
    • v.139
    • /
    • pp.213-238
    • /
    • 2016
  • This paper examines how Dasan Jeong Yak-yong developed self-healing and his perspective of happiness during the hardest point of his political and social career. Just after the death of King Jeongjo (正祖, reign. 1766-1800) the arrest and persecution of those who accepted Christian knowledge from the West began. Among them were Jeong's family members and friends. Jeong, who had learned but had not accepted Christianity as a religious belief, was exiled to Ganggin 康津 in southern Jeolla Province where he was to spend the next 18 years. The two things that helped Jeong through his exile were the Book of Changes 易經 and his commitment to the study of Confucian thought, political, and social reforms. His life-long commitment to writing and his progressive understanding of the principle of changes of the universe in the Book of Changes, represented processes of self-healing and cultivation, depriving Jeong of self-pity and enabling him to attain the highest level in self-realization. According to Jeong, there are two kinds of happiness; "secular happiness" (yeolbok 熱福) related to power and wealth, and "pure happiness" (cheongbok 淸福), a free and idyllic life. For Jeong, the latter was more valuable than the former. Jeong believed that life pursing ethical virtues only could bring authentic joy to people. Furthermore, his devotion to the issues of systematic, social reforms was out of his desire to bring the public happiness by "practical learning", silhak 實學.

A Study on the Multi-Layered Intertextuality of (영화 <드라이브 마이 카>의 다층적 상호텍스트성 고찰)

  • Bae, Kihyung;Kim, Chi Ho
    • The Journal of the Korea Contents Association
    • /
    • v.22 no.9
    • /
    • pp.169-178
    • /
    • 2022
  • In this article, the narrative strategy of Ryusuke Hamaguchi's is researched focusing on multi-layered intertextuality. is framed in the form of a 'story in a story that embraces a story', and the recognition of intertextuality has an important meaning in examining the storytelling strategy of . Because this movie was adapted from the short stories from Haruki's , the various stories included in the film overlap to form the overall narrative. Therefore, in order to understand properly, it is important to understand the organic semantic relationship between the texts in the movie. Understanding the narrative of is also the process of interconnecting textual content of multiple texts included in the film. In , the dream story told by Otto, Gafuku's wife, the main character, and in the play are elaborately linked to the narrative of the entire film in layers and three dimensions with text in a frame. Hamaguchi reinforces the need for the audience through the intertextual narrative strategy of . In addition, the metaphor and personalized space of contributes to the effective delivering the narrative of healing to the audience.