• 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.

• Digital Contents
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• no.1 s.140
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• pp.110-115
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• 2005

2003년 11월에 개봉된 영화<올드보이>는, 으로 유명해진 박찬욱 감독의 복수극 3부작의 제2편으로 알려진 작품이다. 3부작의 첫 편인 <복수는 나의 것>의 연장선상에서 이 영화를 예견했던 평론가들과 관객들은 전작이 가지지 못했던 상업성까지 겸비한 이 영화의 독특한 스타일과장르, 그리고 신선한 소재에 감탄하고 열광했다.영화<올드보이>는 기본적으로 상업적으로 ‘잘만들어진(well-made)’ 영화이다. 말하고자 하는 것도 명징(明澄)해 관객들을 혼란스럽거나 지루하지 않게 만들며, ‘멜로’적요소와‘느와르’적요소, 거기에‘미스테리’요소까지 들어 있어 관객들의 시선을 쉴틈없이 붙잡아 둔다. 화려한 색감과 음울하면서도 압도적인 오리지널 사운드 트랙의 선율, 신선한 촬영기법(특히, 영화 속 최민식의 3분동안의 롱테이크‘장도리 액션’장면은 이 영화의 압권이다), 그리고중간 중간 보이는 블랙 코미디의 요소까지. 물론 이 영화를‘잘만들어지게’만든데에는 최민식이라는 배우의 뛰어난 연기력과 그외의 배우들의 호연도 큰몫을 했다. 그래서 관객들은 이 영화가 숨겨둔 ‘비밀’의 섬뜩함과 불편함에도 불구하고 이영화를 ‘재미있게’ 보러 왔다. 그 덕분에 <올드보이>는 흥행면에서 꽤 큰 성공을 거두어 300만명 이상의 관객을 동원했다. 그리고 2004년 5월 화제를 뿌리며 칸느 영화제에서 심사위원대상이라는 쾌거를 거둔다. 뿐만 아니라 2003년 청룡영화상, 2004년 대한민국영화대상 등 국내영화제에서도<올드보이>의 활약은 대단했다. 2003년흥행과 작품성 모두에서 인정을 받은<살인의추억>의 자리를 이 영화가 물려 받고 있다고 할만하다. 한마디로 말해, 우리가 늘 주목하는‘잘된콘텐츠’의 전형적인 예인 것이다. 바로 그 지점 때문에 우리는 이 영화에 대해 이야기할 필요가 생긴다.

• Trans-
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• v.3
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• pp.137-162
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• 2017

This is a study about the arts as political tools by absolute royal authority in time of Louis X IV through the movie Le Roi danse(2000). The King, Louis X IV was an enthusiast of Arts. During the during the reign of Louis X IV, French Baroque art was blossomed exuberantly. the movie shows how the King uses the arts as a tool of his absolute authority. there are artists, Jean Baptiste Lully and Moliere, and while the movies shows how these artists could get the King's confidence and the king manipulate the arts for strengthen his authority as an absolute royalty.

• 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.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.41-76
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• 2020

Recently, the cinema industry faced a crisis on the rise of various media platforms such as Netflix, Amazon Prime, IPTV, and Kakao Page. The rate of film release in the theater has become ever shorter, and the secondary consumption of film through IPTV, tablet, PC, or mobile has seen a drastic increase. In the midst of this new media-geography, the most significant change in recent years would be the rise of the 'fantasy film' genre. This paper explores the conditions and characteristics of fantasy films in the way in which the genre has been constituted, and delves into particular aspects that its contents contain. This is an attempt to understand the sociology of the birth of a new genre. In this process, this paper will ask two frequently raised questions in regard to this genre. The first is to ask whether we can discern fantasy from reality, and the second is to examine whether the fantasy genre implicates certain social subversion. These two questions aim to discover how fantasy forms a relationship with reality and what this means. To do so, this paper will trace the genealogy of the fantasy film genre in Korea and analyze recent big hits such as the series as the model case of digital fantasy film. Through this exploration, this paper will be able to provide a new sociology of the fantasy film production and consumption in the 21^st century Korea.

• Proceedings of the Korea Information Processing Society Conference
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• 2018.10a
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• pp.569-572
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• 2018

본 연구는 영화 포스터를 대상으로 OpenCV를 활용하여 k-means clustering 기반의 색감을 분석하는 기법을 제안한다. 또한 이를 활용하여 영화 포스터 간의 유사도를 구하고 특정 영화와 대표색을 가지는 영화를 추천하는 시스템을 제안한다. 이를 위해 본 연구에서 다음과 같은 가정을 기반으로 한다. 첫 번째, 포스터는 해당 영화를 가장 잘 나타내는 이미지로, 포스터의 색감은 영화의 전반적인 분위기를 가진다. 두 번째, 영화 사이에 유사한 색감을 가진다면, 해당 영화들은 유사한 분위기를 가진다. 본 연구에서는 2단계로 나누어 연구를 진행한다. 우선 k-means clustering 기법을 통하여 데이터를 전처리 하여 영화별 대표색을 선정한다. 이 때, 선정된 대표색을 이용하여 각 영화간 색감 유사도를 분석한 결과를 통해, 같은 장르의 영화도는 유사도가 높음을 확인할 수 있었다. 다음으로 앞의 색감 유사도 분석을 통하여 특정 영화와 높은 유사도를 가지는 영화를 추천한다. 본 연구에서 추천된 영화는 기존의 영화 선택 기준에 비하여 사용자 본인의 취향을 반영한다. 본 연구 내용이 영화를 추천하는 과정에서 반영된다면 추천 시스템의 정확도와 사용자 만족도 향상에 기여할 것으로 기대된다.

• Journal of Popular Narrative
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• v.25 no.3
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• pp.211-266
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• 2019

Films of the 1960s in both Korea and Egypt share many common characteristics. These include the main trend of such films' in addition to some of the political situations. This trend mainly relates to the adaptation of novels into films. In the late 1940s, Andre Bazin wrote his ideas about a similar phenomenon in Europe and the United States. Based on Bazin's thoughts and other examples for films adapted from novels in the 1940-60s, I found that the trend in both Korea and Egypt can be explained as an international phenomenon, in which film developed to a further stage due to a dialectic between content and form after the increase in the development of film techniques. The trend in Korea is believed to have led to the so-called golden era of Korean movies, while in Egypt films adapted from literature were not able to earn high profits, even though in a 1996 list of the best 100 Egyptian films, 23 had been adapted from novels. To explain the reasons behind this phenomenon, I looked into the internal demand from filmmakers themselves to further develop the industry through the articles written at that time. In addition, I explored the different situations and policies that influenced film production in both countries in the 1960s. I found that political situations and policies could have helped in the continuity of such trend, but it is difficult to consider these as the main reason for its creation, in contrast to the internal demand, which I believe is the main reason for the creation of such direction.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.147-155
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• 2022

This article analyzed the new changes Hong Kong director Lin Chaoxian has brought to theme films of Mainland China and the factors affecting these changes. The objects of the analysis are Lin Chaoxian's films (2016), (2018), and (2020). Compared with Mainland China directors suffering from heavy political burden, Dante Lam directed theme films based on the model from commercial films and adopted lots of elements from Hong Kong films. There, the ideology expression in these theme films was no longer rigid, but a diversified value embodiment resonating with the audience. At the same time, these theme films achieved higher commercial value, in which the stereotyped and unrealistic hero images were replaced by realistic and compound characters, and the display of cool or violent action scenes contributed to lots of visual feasts. All the changes were influenced by the audience preferences and the development of private enterprises in Mainland China.

• Proceedings of the Korea Contents Association Conference
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• 2013.05a
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• pp.83-84
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• 2013

이 연구는 코엔 형제 영화의 열린 결말이 작품의 주제와 어떻게 연관되는지, 그리고 그러한 열린 방식으로 내러티브를 종결시킬 수 있게 하는 서사 논리가 무엇인지 논의한다. <바톤 핑크>(1991), <노인을 위한 나라는 없다>(2007), <시리어스 맨>(2009) 등 코엔 형제의 열린 결말 영화들은 모두 '불확실성'에 관한 영화이다. 이 불확실성은 부조리하고 아이러니컬한 세상의 불가해성과 그것에 대한 캐릭터의 이해 불능으로 나타난다. 코엔 형제의 영화들은 바로 이러한 세계의 불가해성에 대한 논증의 내러티브이며, 이들의 열린 결말은 플롯과 논증의 중층 구조에서 스토리 문제의 해결이 아니라 논증의 완결을 추구한 결과이다.

• The Journal of the Korea Contents Association
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• v.11 no.9
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• pp.106-117
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• 2011

The purpose of this study is to examine factors that affect 3D stereoscopic movie audiences' satisfaction in Korea, and to provide strategic solutions to improve audiences' satisfaction. According to study about movie audiences' satisfaction, factors that affect movie audiences' satisfaction are separated to movie internal factors, movie environmental factors and movie audience factors. And leverage of movie internal factors is bigger than either. But 3D stereoscopic movie is different from ordinary movie in shooting, screening, seeing and recognizing method. So it is expected that movie environmental factors and audience factors' influence is bigger than internal factors. So this study carried out a survey targeting 3D stereoscopic audiences. Main result of this study are shown as follows. First, the method to reduce visual fatigue is necessary for satisfaction. Second, it is required that improvement method of seat arrangement to provide high quality 3D stereoscopic contents. Third, level of 3D stereoscopic movies' price need to adjust to valid level.