• The Korean Publising Journal, Monthly
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• s.83
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• pp.15-15
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• 1991

구비전승되는 민속문화의 한갈래인 설화를 새로운 방법론으로 탐구한 것과 10여년간 우리 전통문화의 세계를 탐구해오며 발표했던 글들을 묶은 평론집으로 구별되는 이번 두 저술에서 저자는 민속학의 연구가 역사의 흐름과 사회적 실천에서 결코 분리되어 있어서는 안됨을 강조하고 있다.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.109-121
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• 2015

Dir. Go, Yeongnam has made 110 film works during 40 years from the last of 1960's to the first of 2000's. He has the record for the most making films in Korean film world. His first film is melodrama (1964). But he makes literary picture genre film after (1977). He has made various genre film such as 47 melo films, 6 literary pictures, 3 comedy films, 22 action films, 21 anti-communism films, 1 war films, 8 detective films, 2 costume plays. This research discussed on Go, Yeongnam's activity in Korean film world and introduced his all films from the last of 1960's to the first of 2000's. In conclusion I arranged the essay of Go, Yeongnam's film world through analyzing the story of his all films.

• Journal of Korean Philosophical Society
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• no.95
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• pp.29-57
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• 2011

Bergson's second work, matter and memory, shows a considerable change in his understanding of time's nature. There, time is no more something indivisible, the distinction of past and present being taken as it's essential feature. Bergson asserts that the past, by it's nature, is something that never ceases to be. His assertion of this immortality of the past leads many people to think that, for him, it's by virtue of the past that duration is possible. Deleuze, an excellent commentator of Bergson's thinking, constructs a really sophisticated argumentation to explain how this immortal ontological past makes possible the passage of time. But we think that the past, as well as the present, tends only to be spatialized, if it is left alone without the help of the future: the ontological past can not make possible time. We try to show how the future can save past and present from their inherent tendency of spatialization : it is by virtue of the future that time(duration) is possible.

• Archives of design research
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• v.18 no.2 s.60
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• pp.101-110
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• 2005

Simulacre is one of the major topics in the Western philosophy since Plato. Since the 20th century, the Western philosophy is based on rationalism toward 'absolute truth' founded on Platonic Ideas. The concept of Simulacre is ignored and rejected until the modern days. However, Simulacre is gaining its attention at this time of image. and the time of Simulacre. The concept of postmodern Simulacre started from Walter Benjamin is developed by Gnther Anders, Jacques Derrida, Gilles Deleuze, and Jean Baudrillard. This study, based on the Jean Baudrillard's concept of Simulacre, examines today's Simulacre phenomena and analyzes the cinematic works of Oshii Mamoru who displays the concept of Simulacre in his films. Analyzing and evaluating his recent visual works based on Simulacre theory with such superficial methods as advanced special visual effects is a mistake that demeans Simulation? (Matrix). Today, Simulacre phenomena are scattered all over our life. The search of its substance and the analysis of his artworks will be a foundation that makes a new alternative suggestion.

• 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.

• Cross-Cultural Studies
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• v.52
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• pp.253-275
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• 2018

The concept of 'utopia' in Korea was formed in the early 20th century. 'There isn't in this world but good world' could be found using science and it was an ideal place for science to realize in the 1900s of Korea. Utopia was emphasized as an ideal world of fantasy in the 1920s. It was an ideological world wherein socialism was realized by a purposeful science. Utopia, conversely, was the history of scientific socialism defined as past example of communism that could not be implemented but was fancied. There were works suggesting that it was a dark dystopia such as Society after 800,000 years written by H.G. Wells or Artificial Worker by Young-hee Pak, but there were implied at the will of utopia.

• Cartoon and Animation Studies
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• s.44
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• pp.183-209
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• 2016

Hayao Miyazaki's product, , is evaluated that his work until present that product point of view and commercial point of view are highly filled at the same time. Miyazaki's showed new public entertainment possibility in genre that is animation inventing highest-grossing domestic film in Japan's history until it was taken over by another Miyazaki work. Also, it can high evaluate that not that see for interest simply beam about environment and human who writer has to spectator deep self-examination and way of problem pulling comprehension without burden through resected reflex which is not exigent delivery sympathy form. Analyzing his product, , ,, , , , this research allowed purpose to recognize that he present the alternative after arranges intent subject how and institute problem. And do to study whether his though and ideology met with viewpoints of ecologism and environment(environmentalism) in work how. There are his countenance have theme that is certain in Miyazaki director's works. If summarize had handled subject meantime, it is , , , etc. This subjects are that go first at importance order among problems which we face, it is that human desires essentially. If balance of society system that regulate various economical, moral value system and desire to our society is set, our society is that can become little more near in nature mode of life.

• Cartoon and Animation Studies
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• s.34
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• pp.81-104
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• 2014

Self-reflexivity means consciousness turning back on itself and breaks with art as illusionism and exposes their own factitiousness as textual construct. Self-reflexivity in media deals with the media's condition and process itself and tends to pull viewers out of the reality represented on screen by reminding them that is a media's construction or illusion on the screen. Representation aesthetics has been recognized with an essential theory of the art since Ancient Greek, but it has encountered crisis with the invention of the photography and the cinema in the early 1900s. The supreme transparency of the new media induced a new perspective for the representation aesthetics, which had dominated the art world. The art derived from the representation stood on the crossroad of changing direction. Modernism aesthetics wanted to search for the self-referentiality in order to the replace the past principal. This essay focuses on self-reflexivity in animation and their methodology. First, the change of representation aesthetics in visual arts will be discussed. Second, animations exposing their process of production and components will be analyzed, and lastly, intertextuality in animation will be dealt. I hope to provide the vision of the expanded animation media with this study.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.909-914
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• 2009

It can be said that the role of character is very important for the development of animation contents. It is because unlike in general motion picture, the emotional character, which is artificially controlled, plays the functional role in animation. Because of the function, the character may be differently expressed, depending on the culture of each country. However, general audiences and people selecting commodities have common factors. It seems that USA and Japan, which have led the world culture in the field of animation planning and manu facture, perform the animation manufacture by applying them properly. The purpose of this presentation is to analyze the works of USA and Japan, which have led animation manufacture. Because numerous works have been manufactured in two countries regardless of genres, the selection was made by concentrating on representative works that achieved good results from character commercialization. Therefore, the study will suggest the methodological direction for the new development of character, which is performed in industrial animation work and education field.

• Archives of design research
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• v.19 no.4 s.66
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• pp.121-132
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• 2006

In the Western Philosophy that was centered on reason, sense has been belittled as a low level of conception under reason. However, the 21st century modern visual environment pushes away the epistemology centered on reason and puts 'sensuality' and 'sense' on its place. Especially, public films are one of the fields that rapidly reflect such changes and lead the changes. However, unfortunately, it is difficult to find such efforts that reflect the artistic and aesthetic significance of sense from the public films. It is because that sense is considered superficial and somewhat not real, while recognizing sense as the low level of conception under reason over the long history. Given the fact, this study reviews the by Gilles Deleuze, a modern philosopher who gives a new value on sense, and it would be meaningful to analyze the works of Chris Cunningham who makes films with the concept of Gilles Deleuze. After we analyzed three music videos of Aphex Twin directed by Chris Cunningham, we can ascertain that the films are based on body without Oranges, hysteric, and diagram that are suggested from by Gilles Deleuze. Analyzing recently released films centered on 'sense' in a superficial manner that includes production method or picture composition, including the films of Chris Cunningham, falls into the error of overlooking the director's aesthetics. Understanding the modern logic of sense that is newly developing, studying its substance, and analyzing the films will make a sacrifice of suggesting a new alternative.