• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.339-347
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• 2019

This is a comparative cultural study on the cultural dimensions of the Korean original film and its Chinese remake film. This research is based on the cultural dimension study by Dutch organizing psychologist Geert Hofstede (1991). In this research I have tried to compare cultural dimensions that are shown implicitly in the original Korean film of "Blind" and its Chinese remake, entitled "The Witness", in terms of the narrative structures.

• Science of Emotion and Sensibility
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• v.17 no.1
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• pp.71-78
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• 2014

We propose the sentiment pattern as a novel sentiment feature for more accurate text sentiment analysis, and introduce the rating inference of movie reviews using it. The text sentiment analysis is a task that recognizes and classifies sentiment of text whether it is positive or negative. For that purpose, the sentiment feature is used, which includes sentiment words and phrase pattern that have specific sentiment like positive or negative. The previous researches for the sentiment analysis, however, have a limit to understand accurately total sentiment of either a sentence or text because they consider the sentiment of sentiment words and phrase patterns independently. Therefore, we propose the sentiment pattern that is defined by arranging semantically all sentiment in a sentence, and use them as a new sentiment feature for the rating inference that is one of the detail subjects of the sentiment analysis. In order to verify the effect of proposed sentiment pattern, we conducted experiments of rating inference. Ratings of test reviews is inferred by using a probabilistic method with sentiment features including sentiment patterns extracted from training reviews. As a result, it is shown that the result of rating inference with sentiment patterns are more accurate than that without sentiment patterns.

• Journal of the Korean association of regional geographers
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• v.11 no.6
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• pp.501-516
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• 2005

Although Incheon metropolitan city is the third largest city in Korea, it is called 'the gateway to Seoul', 'the second city of port', and 'the satellite city'. The people in Incheon as well as other regions unconsciously recognize this city as 'border' and 'periphery' of Seoul through those expressions. These perceptions also develop a negative sense of place about Incheon. This study starts with analysis about marginal landscape images of Incheon in texts such as movies, stories, and geography textbooks. The represented text as movie has a gap between real space and it. Nevertheless, Its strong point is a making problems clear about recognition of reality. I will inquire the origin of senses of place about Incheon through analysis of represented texts. Moreover, I will present the notion of 'flight' that stands on the basis of Deleuze's Nomadism. Here, 'flight' means that the active subject continuously challenges and reforms the nature of periphery and dependency, the capital, and the economic subordination, and it will have to be new identity and direction of Incheon.

• Cartoon and Animation Studies
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• s.1
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• pp.1-54
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• 1997

• Proceedings of the Korean Society of Computer Information Conference
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• 2023.07a
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• pp.261-262
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• 2023

본 연구에서는 감성 분석 기반의 키워드 도출형 영화 리뷰 웹사이트를 개발하였다. 사용자들은 영화에 대한 리뷰를 작성할 때, 자동으로 키워드를 추출하는 기능을 활용하여 다양하면서도 빠르게 정보를 얻을 수 있다. 사용자가 작성한 리뷰를 시스템에 입력하면, 내부적으로 ChatGPT를 활용하여 텍스트를 분석하고 키워드를 추출한다. 이를 통해 사용자는 별다른 노력 없이도 키워드를 통해 영화의 장르, 감독, 배우, 플롯 요소 등 다양한 정보를 빠르게 확인할 수 있다. 추출된 키워드는 저장되어 시각화에 활용되며, 사용자들은 리뷰에 대한 원하는 정보를 쉽게 얻을 수 있다. 개발된 키워드 도출형 영화 리뷰 웹사이트는 사용자들에게 빠르고 다양한 정보를 제공하며, 영화 관련 결정을 내리는 데에 도움을 줄 것으로 기대된다.

• 기호학연구
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• no.54
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• pp.177-203
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• 2018

On this study, we analyzed the movie With gods's narrative structure. This movie makes most people who has seen it feel deeply moved. We think that people can get deep feeling from a film at last after people who has seen the movie accept a context, story, and a message of the movie gladly. We focused on a special system in this movie With gods that can make give an ordinary message and big touch to people. Also we focused on every episodes of every space in a movie, and someone who moved freely between the spaces. A repetitive form and repetitive contents in a narrative become a special code itself -repetitiveness- for people and make them do auto-communication. Specifically, an information, the movie's repetitiveness, out of people become a special code for them, and then that make people bring memory and new information by themselves. Watching movie, people can look back up on life with every trial in the movie. In short, a repetitiveness and an auto-communication are a special system in the movie, that can make deeply touched.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.265-299
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• 2021

The purpose of this research paper is to facilitate the understanding of the synesthetic aesthetics in the film The Age of Innocence through the intertextuality among the narrative, paintings, and music in the film. In this paper, a two-dimensional intertextual analysis of the paintings in relation to the narrative is conducted on the paintings owned by Old New York, the paintings owned by Ellen, the portraits of unknown artists on the street outside of Parker House, and Rubens' painting at the Louvre. A three-dimensional intertextual analysis of performances in relation to the narrative is conducted on the stages and the box seats at the New York Academy of Music, in which Charles F. Gounod's Faust is performed, and the Wallack's Theatre, in which Dion Boucicault's The Shaughraun is performed. An intertextual analysis of music in relation to the narrative is also conducted on the diegetic and non-diegetic classical music of the film, including Beethoven's Piano Sonata No. 8 and Mendelssohn's String Quintet No. 2, as well as Elmer Bernstein's non-diegetic music of the film. The constituent event of The Age of Innocence represents the passion trapped in the reflection of love and desire that are not lasting, and the supplementary event embodies the narrow viewpoint and the inversion of values caused by the patriarchal authority of Old New York. The characters in the film live a double life, presenting an unaffected surface and concealing the problems behind it. The characters restrain their emotions at both the climax and the ending. The most powerful aspect of the film is the type and nature of oppressive life, which are more delicately described with the help of paintings and music, as there is a limit to describing them only by acting. In intertextual terms, paintings and music in The Age of Innocence continuously emphasize "feeling of emotions that cannot be expressed in language." With a synesthetic image, as if each part were imprinted on the previous part, the continuity "responds to continuous camera movements and montage effects." In The Age of Innocence, erotic dynamism brings dramatic excitement to the highest level, switching between the satisfaction of revealing desire and the disappointment of hiding desire due to its taboo status. This is possible because paintings and music related to the narrative have made aesthetic achievements that overcome the limitations of two-dimensional planes and limited frames. The significance of this study lies in that, since the identification in The Age of Innocence is based on the establishment of a synesthetic aesthetic through audio-visual representation of the film narrative, it helps us to rediscover the possibility of cinematic aesthetics.

• 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.

• Annual Conference on Human and Language Technology
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• 2021.10a
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• pp.379-383
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• 2021

감정 분석은 텍스트 데이터에서 인간이 느끼는 감정을 다양한 감정 유형으로 분류하는 것이다. 그러나 많은 연구에서 감정 분석은 긍정과 부정, 또는 중립의 극성을 분류하는 감성 분석의 개념과 혼용되고 있다. 본 연구에서는 텍스트에서 느껴지는 감정들을 다양한 감정 유형으로 분류한 감정 말뭉치를 구축하였는데, 감정 말뭉치를 구축하기 위해 심리학 모델을 기반으로 분류한 감정 어휘 사전을 사용하였다. 9가지 감정 유형으로 분류된 한국어 감정 어휘 사전을 바탕으로 한국어 영화 리뷰 말뭉치에 9가지 감정 유형의 감정을 태깅하여 감정 분석 말뭉치를 구축하고, KcBert에 학습시켰다. 긍정과 부정으로 분류된 데이터로 사전 학습된 KcBert에 9개의 유형으로 분류된 데이터를 학습시켜 기존 모델과 성능 비교를 한 결과, KcBert는 다중 분류 모델에서도 우수한 성능을 보였다.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.607-617
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• 2014

This article aims to explain some academic subjects based on the film, and accordingly investigate how they are to be converged and then educate individuals. The reasons why should be chosen as a text are as follows: this film is said to be fictional, but based on historical fact. Then, it attracts national attention. Third, it induces the spectators to judge the value of conscience, law, and morals, through the trial process, for themselves and leads them to raise the awareness of the historical, and political conditions at the time. Last, but not least, it contributes to the discourse on various type of men in contemporary days, by dint of analysis on the main characters. The results of the research are listed below: most of all, literature education(Korean language) could be proceeded with the help of epic analysis on . Secondly, considering the film develops the story using political allegory as discussion, along with the historic situation in those days, learning on history and politics could be made possible. Third, the film could be undoubtedly used to conduct the education of law and morality, forming the argument on required law and morals corresponding with ideological circumstance. Finally, education on film analysis could be conducted, by means of examination of the main characters. The analysis on the major characters helps to teach what it would be like for people to become the right ones, by both representing the members of society and determining the quality of life and relationship.