• Trans-
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• v.2
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• pp.75-94
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• 2017

The film director is the responsible for artistic quality of the film. In Hollywood, the director considered as a technician only visualizes the given scenario. In the 1950s, young critics of the Cahiers du cinéma, who were at the center of Nouvelle Vague, re-qualified some Hollywood directors, for example Alfred Hitchcock, Howard Hawks and John Ford. They are considered "auteurs(authors)" because their films have their own styles. In France, the word "auteur-directoir" is often used in the film production. It refers to the person who writes the original screenplay of a movie. Auteur's legal definition of copyright is set out in Article L.111-1 of the Intellectual Property Code: "the auteur of a work of the mind enjoys the work by reason only of its creation, of an exclusive intangible property right and opposable to all. On the other hand, in the definition of producer, it is the natural or legal person who takes the initiative and responsibility for the realization of the work according to Article L. 132-23 of the same code. We study here the competence and responsibility of the French director as an "auteur" by consulting the two types of contract: director-technician and author-director. We rant to offer a reflection on the position of the film director and the relationship between the director and the producer.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.105-118
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• 2021

The purpose of this study is to explore the American Youth Film Director Damien Chazelle and his cinema world. Chazelle as a youth director directs three movies as (2014), (2016), (2018) in Hollywood, and represents youth directors in Hollywood. For this study, adopt two research methodologies which are 'Auteurism' and 'culture studies', and explore traits of esthetics, subject and context meaning by analyzing representative three movies. Lastly examines significance of his movies in Hollywood history. This study concludes that Chazelle is a 'Auteurism director of self-reflexivity' who has three things in common as 'narrative: success myth', 'mise-en-scene: Chazelle's world', 'self-reflexivity: Auteurism film directing'. Youth film director Chazelle is opening up the future of Hollywood as a 'Auteurism film of self-reflexivity' and the creative film directing of the youth generation.

• Journal of Digital Convergence
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• v.19 no.3
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• pp.345-352
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• 2021

Based on the exploration of the reasons why Shunji Iwai is called "Wong Kar-wai of Japan", this paper compared and studied the image style of two directors films, and explored the theoretical characteristics of their similarities and differences, so as to provide inspiration for the development of Chinese national films. This is the purpose of this paper. Through the search of literature, cultural background analysis of the two directors, film style comparison and film aesthetics comparative analysis and other research methods, this paper made a more in-depth theoretical research on the films of the two directors. It was found that the films of the two directors showed the characteristics of narrative abstraction and image beautification, but there were also some differences in the choice of narrative subjects. The research of this paper provided a new train of thought and starting point for us to study and explore the films of two directors, and pointed out a new direction for us to explore the trend of national films.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.59-68
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• 2014

Dir. Kim, Muk was known to the representative director of Korean action and thriller film from the last of 1950's to the first of 1970's. His first film is melodrama (1958). But he mainly makes action genre film after (1960). This reserch discussed on Kim, Muk's activity in Koream film world and introduceed his all films from the first of 1950's to of 1970's. In conclusionly I arranged his film style and KIm, Muk's film making metod of action film.

• The Journal of the Korea Contents Association
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• v.14 no.2
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• pp.94-102
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• 2014

Dir. Kim, Giduk's first work is (1996) which was created a new character and episode which disregard the main trand movie. His emotion in his film is over the reallife and common sense. His emotion is attached to the primitive feeling. He is called the tererist of Korean film culture. This thesis studys on the allegory of kim, Giduk's film world by Kim, Sunam's 'Korean auterism' which discusses dir.'s film work on the base of the background of filmmaker and his view of life. And also to represent film image he used space, water, color, repeated same meaning oposition by the usual image of rhetoric.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.7-13
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• 2018

Director Shin, Dong-il is one of the artists who is constantly pursuing his own work theme with his artistic insistence in the Korean film industry. He is an artist who criticizes modern society's systems, ideologies, and ills and questions them all the time. (2017), which he introduced in eight years after , is an extension of the work theme pursued by previous works, but it is a work that shows a different change from previous works. In this paper, I divide the world of works Shin, Dong-il pursues into three types of Others, Boundaries, and Drives, analyzing the common points and changes of . And through such analysis, I will examine the work theme of Director Shin Dong-il and measure the direction of change.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.415-430
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• 2022

The purpose of this study is to explore the Canadian Film Director Sophie Deraspe's . Director Sophie Deraspe adapted a Greek Sophocles's novel to the Film in a modern way. For this study, adopt two research methodologies which are 'Author-structuralism' and 'culture studies', and explore traits of esthetics, narrative, subject and context meaning by analyzing . This study concludes that Firstly director Sophie Deraspe is a 'Quebecious writer-director' who represents cultural identity of contemporary Qubec, Secondly, express immigrants in Qubec using Greek Sophocles's novel tragedy as an allegory in narrative, Thirdly, enhances the dramatic effect in esthetics using virtual mise-en-scene as insert, fantasy, SNS, etc. And lastly, can confirm re-territorializing the cultural identity from the distinct characteristics of regional past tradition to the universal hybridity discours in subject. Therefore, Sophie Deraspe's is a work that symbolizes a new trend of 'New Quebec Cinema' in Canada.

• Proceedings of the Korea Contents Association Conference
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• 2018.05a
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• pp.479-480
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• 2018

본 연구는 임진왜란이 기억의 주체에 따라 다양하게 변용되는 방식을 사관, 신하, 작가, 영화감독의 텍스트를 통해 밝힌 것이다. 이를 통해 역사의 진실이 변주되는 양상을 보여주었다. 문제는 역사적 사건이 기억의 범주에서 돋보이고 은폐됨에 따라 역사의 진실은 당시와 현재에도 다르게 나타난다는 것이다.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.243-256
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• 2021

is a film that lifted Director Joon Ho Bong and Korea to the world-class level. A number of researchers have released findings of studies on based on their own interests and perspectives. The current study discussed the historical facts of black comedy in film and how black comedy from play has been used for epic characteristics and formal measures, although it was not a specific rule, through the perspectives of contemporary writers, such as Beckett, Ionesco, Durrenmatt, and Brecht. Some tools used for comedies and tragedies shared the same concept with black comedy in film and black comedy was a unique characteristic of film. The study analyzed how black comedy was signified in for paradox and nonalignment of purpose/intent and consequences as epic characteristics and parody, grotesque, and coincidence as formal measures. It also discussed the meaning of Director Bong's black comedy in and how the audience accepted it. Both the contemporary writers and Director Bong has a compassionate perspective, but the his was different from the work of other contemporary writers. Therefore, the study discussed his creativity behind .

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.155-167
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• 2020

The stage manager role of "Our Town"(1938), a representative work of Thornton Wilder(1897-1975), is a unique theatrical device that presents a wide range of interesting and diverse perspectives in the actor's acting approach, the director's stage-shape methodology, and the audience's theater experience. Why did Wilder call stage manager role a stage manager, not just a simple narrator? Because "Our Town" intentionally lacks the basic elements that dramas must have, it needed a more self-reliant and omnipotent role in creating the margins of dramatic writing, including boldly omitted time and space, with infinite imagination. For this reason, stage manager role plays a much more complex and multi-functional role than a narrator. In response, this paper accurately articulates the concept of theatrical style and theatrical convention on the premise of the stage manager role in "Our Town," followed by making theatrical convention, the director of scene progress and scene change, the messenger of the writer's thoughts, and dramatic rhythm control.