• Cartoon and Animation Studies
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• s.24
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• pp.135-154
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• 2011

Simulacra theory as propounded by Jean Baudrillard in his seminal treatise, "Simulacra and Simulation," explores the significance of images, media and art in contemporary culture. Its central theoretical premise is the simulacrum, a sign or symbol that plays a crucial role in constructing perceived reality but which lacks a real-world referent. In Michel Gondry creates simulacra in the form of hallucinatory dream imagery by combining stop-motion animation and live-action elements. As experimental film-making that combines analog and minimum digital technologies, the result is a tour-de-force of synchronization. This study analyzes the film's technique and expressive content and, by adopting simulacra theory as a conceptual framework, aims to provide a better understanding of Gondry's work.

• Journal of Korea Game Society
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• v.5 no.4
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• pp.3-12
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• 2005

Many works have been published with using surrealism techniques among the representation characteristics of media space of video and art. It has begun to research on these work. But many of these researches have not cover surrealism techniques in game graphic. So, in this paper, we have analyzed representation characteristics of fantasy online game's character using surrealism techniques in surrealism. In result, there are means to express nonexistent image in real world in surrealism by using such as collage of parts of body, animals, and other object, deformation, and distortion. Also, these methods have been used in game characters of online game based on fantasy. We analyzed on characteristics of fantasy game's character in aesthetic point view. It should be profitable for making creative and favorable game characters and making creative game graphic by increasing the possibility of art techniques usage.

• Cartoon and Animation Studies
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• s.28
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• pp.27-53
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• 2012

American superhero comics are being produced in numerous different forms for multiple, and cross-platform media. In cinema, films based on superhero comics top the list of all time box office records. The same phenomenon of the 'Invasion of Superhero' is duplicated in Korean box office 2012, however, the korean fans are not familiar with the superheroes from the publication which provides the original source of characters and stories for other superhero related media products. Based on observing the multiple and vastness of world building characteristics of superhero comic, this paper attempts to associate the continuous creative nature and the infinite repetition of superheroes and comic texts with the identity of superhero on ontological level. First, chapter 2 examines how one superhero exists in multiple and different worlds individually by utilizing the concept of 'multi-universe' or 'multiverse' in comic texts. Initially, duplicating a superhero on multiple settings and series destroyed continuity and allowed contradiction and paradox confused narrative as a whole, but it also gave chances for comics to be more vibrant and experimental with their stories and characters. Chapter 3 analyzes the superhero comic texts in the light of repetition, concept developed by french philosopher Gilles Deleuze, and make the argument that the superheroes and texts are not repeated to generate surplus of source for economic utilitarian purposes, but it is, first and foremost, a repetition of creativeness and capability. Many concepts introduced by Deleuze in his early masterpiece, $\acute{e}$rence et R$\acute{e}$p$\acute{e}$tition> are taken to support this argument. Mainly, his critical views on generality of the identity and his effort to replace the Plato's system of representation with vibrant creative, and renewal energy of r$\acute{e}$p$\acute{e}$tition. According to Deleuze, repetition is similar concept, if not identical, to what Nietzsche called the 'eternal return' which allows the return of the Overhuman or the Superhuman, and he extends his idea that the returning Overhuman is the singular simulacre which opposes the generalization of identity, in the likes of Plato's Idea. Thus, the superhero's identity is ever changing, ever returning, and ever renewing Overhuman. The superhero must be repeated to fully actualize his/her existence. Also, based on Deleuze's reading of Bergson's texts on the Virtual, the superhero, for example Superman, is actualization of his/her multiplisit$\acute{e}$, the internally multiple, and differentiated variations from itself. These every Supermans' multiplisit$\acute{e}$ shares common memory, past, and duration, thus the Virtual of Superman. Superman becomes himself only by actualizing the movement and differentiation from these multiplisit$\acute{e}$ in his virtual on the surface of reality. On chapter 4, a popular Korean comic book character Oh, Hae-Sung's r$\acute{e}$p$\acute{e}$tition and multiplist$\acute{e}$ are analyzed, and makes comparison to that of Superman to distinguish the repetition from r$\acute{e}$p$\acute{e}$tition, and multiplicit$\acute{e}$ from diversity.

• Journal of the Korean Society of Costume
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• v.52 no.1
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• pp.53-67
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• 2002

자연을 분석함으로써, 얻어진 기하학적 패턴은 이미 자연의 질서를 포함하고 있는 논리적이고 합리적인 기본형이기 때문에 간결하며 시각적으로 명쾌감을 준다. 이러한 기하학적 패턴은 복식 디자인에 있어서 20 세기 이후 여러 디자이너의 작품을 통해 재구성되어 현대적 이미지를 나타내는 중요한 모티브가 되고 있으며, 다양한 기법과 재료로 형성화하여 도입되고 있다. 이에 본 연구는 복식의 문양, 실루엣, 디테일에 사용되고 있는 기하학적 패턴을 연구함으로써 기하학적 패턴의 새로운 조형가치를 고찰하였다. 먼저 기하학의 용어 정의를 하였고 기하학적 패턴의 유형과 표현 기법을 분석하고 정리하여 현대 패션에 나타난 기하학적 패턴의 조형미와 그것을 바탕으로 패션 이미지를 추론해 보았다. 현대 패션에 나타난 기하학 패턴을 분석해 보면 유형으로는 첫째, 기하하적 문양으로 복식디자인에 있어서 주로 평면적인 형태로 많이 나타나지만, 크기가 다르고 동일한 기하학적 패턴을 조합시킴으로서 평면적인 형태에 공간감을 부여하기도 하며, 같은 기하학적 패턴의 표면이라도 배치구조에 의해 직선 혹은 사선으로 지각되므로 전혀 다른 이미지를 주었다. 또한 현대 패션에 나타난 기하학적 패턴이 종류는 세로 스트라이프, 가로 스트라이프, 격자 문양, 원, 사선 스트라이프, 마름모, 사각형, 삼각형 등의 순서로 많이 나타났다. 둘째, 색채는 단색의 복식에 강한 대비가 이루어지는 색상으로 표현되어 역동감과 유연한 운동감을 나타났다. 셋째, 기하학적 실루엣으로 단순한 라인의 형태를 나타내거나 입체적이고 부조적인 형태로 구성되어 전체적인 실루엣으로 사용되어 강한 조형감각을 보여주는데 원형을 이용한 실루엣이 가장 많았으며 사각형을 이용한 실루엣, 삼각형을 이용한 실루엣 순서로 나타났다. 넷째, 기하학적인 디테일로 복식의 어느 한 부분에 장식적으로 사용되거나 입체적 형태로 부출 되어 부조적인 느낌을 주는데 소매에 가장 많이 나타났으며 앞여밈, 칼라, 밑단, 주머니 순서로 장식되었다. 다섯째, 현대 패션에 표현된 기하학적 패턴의 표현기법으로는 프린팅, 퀼팅, piece기법, 패치워크, 엮기, 꼴라쥬, 아플리케 순서로 많이 나타났다. 위의 분석을 토대로 기하학 패턴을 활용한 디자인에 내재된 조형의지는 다음과 같이 정리되었다. 첫째, 기하학적 패턴이 지닌 단순성과 경직성을 완화하기 위하여 여러 가지 패브릭을 조합시켜 입체적인 표면효과로 시각적인 착시효과를 극대화하였다. 둘째, 표현기법은 입체파적 표현주의의 특성의 하나로 복시에 사용되는 소재의 왜곡으로 설명할 수 있으며, 새롭고 실험적인 소재의 도입으로 인해 의외성과 부조화를 유발시키는 통시에 유희직인 일면도 지니는 일종의 그로테스크를 나타냈다. 이상에서 정립된 조형의지를 바탕으로 현대 패션에 나타란 기하학 패턴은 절제된 단순함과 명확성으로 단순미가 유추되었고 강한 색상대비로 인한 시각적 집중효과로 주목성을 가지며 재현이 가능하므로 반복성이 유추되었다. 그리고 표준영역이 없는 창의적 표현으로 풍부한 독창성을 보여주고 있다. 또한 내재된 패션 이미지를 분석해 보면 정확함과 차가움의 의미를 지닌 이지적 이미지와 우주의 질서를 반영하는 상징적 이미지, 복잡한 자연으로부터 간결한 형태로의 경향성이 이루어낸 인공적 이미지를 느낄 수 있었으며, 미래적 이미지와 전통적 이미지의 상반된 개념의 이미지를 같이 내포하고 있음을 추론할 수 있었다. 이와 같이 현대 패션에 표현된 기하학적 패턴은 복식을 조형예술 분야로 확실히 인식시키고 발전시키는 데 중요한 촉매제 역할을 담당하고 있으며 또한 많은 디자이너들에게 창조적 욕구를 불러일으키고 영감을 주는데 중요한 모티브를 제공하고 있다.

• Journal of Digital Convergence
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• v.17 no.10
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• pp.439-446
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• 2019

Feminism on the theme of gender equality is emerging as an important issue in the overall Korean culture. Feminism is not only a level of claiming or advocating women's rights, but an essential subject of gaze and thought, not a distorted, artificially portrayed image of women distorted or typified in a story created by men in the past It is a film that explores the problem of the individual's life in society fundamentally. Jun Koeun's movie' 'micro-habitat'(2018) 'expresses a feminist theme that shows a strong self - selection and transcendental thinking in male - oriented stereotypes and inequal social structure. The film, which focuses on the public insight into society and the enhancement of the ideal human being from the viewpoint that the public film should lead the educated enlightenment character that raises the broad insight into the world and lead the mature social culture, I think it will play a big role.

• Journal of Science and Technology Studies
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• v.3 no.1 s.5
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• pp.1-17
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• 2003

Though science and technology can understood as a part of cultural system, the relationship of science/technology with culture is often viewed as contradictory or mutually exclusive by many scholars. Therefore, in the first section of the present paper, the nature of science and technology as a cultural form is examined. Here, science is viewed as a form of symbolic culture, while technology is regarded as a form of instrumental culture. In the second section, the contradictory relationship and/or tensions between science-technological system (instrumental culture) and cultural system (symbolic culture) within a society is discussed. In the final section of this paper, 'science culture' is conceptualized as a dynamic social process in which contradictory science sub-cultures of political system(state), economic system(cooperations), civil society (including academic community of scientists and other social organizations and movements), and cultural system are supposed to be coordinated. In conclusion, establishment of 'humanized science culture' and 'democratic science-culture movement' is proposed as an alternative way of resolving contradictory relationship between cultural system and science-technological system in the modern world.

• The Journal of the Korea Contents Association
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• v.6 no.4
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• pp.89-97
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• 2006

Such changes that the digital paradigm brought propels a change of the value system itself in the existing society so that a way of thinking that differentiates oneself from others is getting much stronger. As public interests are higher in the image production on the internet, such authoring environments as development of related technologies, expansibility of information, and systematization of available information continue to change. Therefore, a variety of unique image presentations that fit to the changed environments are necessary and an expression method is indispensable for such image production. This study focuses on digital image creating in which a synectics method is applied. It suggests digital image application methods and examples that contain not just simple image distortion or variation but intrinsic significance. It is believed that it will be of good use to produce a variety of unique and innate digital images in the end.

• The Journal of the Korea Contents Association
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• v.21 no.12
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• pp.728-737
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• 2021

In the meantime, broadcasting CG has gone through the process of dismantling, changing, and distorting, while broadcasting CG in broadcasting programs utilizes the expanded background of 'temporality' and 'formality'. This is to create an audiovisual language that appeals to human synesthesia by expressing the meaning to be conveyed in three dimensions. Broadcast CG goes beyond simple instructional and informational broadcast graphic operation, and increases the pure aesthetic value and sensibility of the video considering readability and formativeness, and through this, the audiovisual information perfection of the broadcast program is derived and acts as a very important factor. Therefore, this paper examines the results of broadcast CG production and utilization methods at existing local broadcasters, and identifies the limitations of local broadcasters' CG production and utilization through case analysis for each broadcast program type. We want to derive a model that is a compromise line. In addition, I would like to suggest a plan that can be applied more actively and practically to local broadcasting programs. In order to solve this problem, this study first examines "Analysis of cases of use of broadcasting CG production in broadcasting programs" and then "more efficient broadcasting CG production techniques by identifying problems in broadcasting CG production methods and utilization of local broadcasters" and how to actively use it". In addition, the results of this study are expected to contribute to the establishment of a new role and practical broadcast CG production model for broadcast graphic designers in charge of broadcast CG production and the technical perspective of broadcast program production by local broadcasters.

• Journal of the Korean earth science society
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• v.30 no.2
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• pp.247-256
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• 2009

Characteristics of hydrography and tidal currents were investigated in Hampyung Bay through in situ CTD data, tidal currents and elevations. According to the seasonal weather variability, hydrography showed the lower density with high temperature and low salinity in summer and the higher density with low temperature and high salinity in winter. In particular, the thermal structure like a tidal front was formed along the central channel at the neap tide of summer. The critical value of the parameter $SH(=log_{10}(H/U^3)$ where H is depth and U is $M_2$ tidal current amplitude) representing the formation position of tidal front was estimated from 2.4 to 3.5. In addition, the potential energy anomaly $({\phi})$ was ranged between 0.985 and 6.998 Joule/$m^3$, which gradually increased from the mouth into the inner bay. This front may be caused by the unique topography with wide tidal flat and the local difference of tidal current strength. The observed tidal currents at the mouth of bay showed that the ebb time was shorter than the flood time with the increase of depth. This asymmetric ebb-tide dominance is interpreted as a result of tidal distortion by the development of a shallow-water-constituent in Hampyung Bay with a wide macro-tidal flat.

• Cartoon and Animation Studies
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• s.38
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• pp.145-176
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• 2015

In animation, 'laughter' is an important factor for the fun. Dreamworks' animation is a successful popular animation. It has four series and spin-off animations, and settled as a successful case that created fun with strategic use of parody throughout the productions. Most preceding studies on this animation have focused on its humor, parody, and satire. However, not many studies have discussed its independent comedy as a piece of animation that satisfies the needs of public. This study considered that viewers' desire to watch an animation comes from their fantasies to discuss the comedy of based on its animated characters. Animated characters communicate with the public with wits that ignore the rules of reality. The characters that do not exist in reality are created and animated to turn the world of reality upside down. The comedy in comes from the entertaining deformation of the society's fixed ideas and prejudices. It is a fun variation of the ideology behind fairy tales created by the Disney animations to challenge Disney in the animation market in reality, and twisted the world of fairy tales in the story to quench the thirst of the public. 'Shrek', a monstrous character, stands in the center of the story. A monstrous character that always played an anti-role has become the main character to break the rule of fairy tales. This is the subjectivation of anti-character. Second, it is a new anti-character with an exaggerated and distorted body. Lord Farquad, who looks abject compared to the monstrous character for a person with so much power and ambition, brings laughter. Third, it is the variation of various characters from fairy tales. The conventional fairy tale characters, both animals and non-living things, come out of the box and appear as humorous characters that bring life to the story. uses comedy characters in the process of reinterpreting the fixed ideas, prejudices, and ideologies of the real world created by fairy tales. I hope that it helps Korean animations establish a successful format for creating characters that bring life to the stories.