• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.82-91
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• 2018

This paper examines the sound of Godard's <$Pr{\acute{e}}nom$ Carmen> from Deleuze's film aesthetics and Merleau-Ponty's phenomenological point of view. The rehearsal scene of a string quartet is a mirror-image that illuminates the music itself, and becomes a crystal-image with the indiscernibility of the present and the past in the break with the main narrative. On the other hand, urban noise and waves are the seeds composed of pure optical (sound) images and grow into pure sound crystals that collide with what is seen through the juxtaposition, substitution, and intentional connection of sound. However, these sound contradictions also lead to the integrated sound category as a 'sole movement' through Merleau-Ponty's dialectical thought, and even the dialectical sound management of pop and classical music is no longer a confrontation of the genre, but is integrated into the materialistic category of sound. This study is differentiated from the existing research by solving the sound aesthetics of the Godard's film through philosophical thought.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.151-156
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• 2019

In recent years, the Korean realistic theme of the film momentum gradually rising. Realistic films do not stick to the business and market, and do not simply cater to the audience's needs for watching movies. They reflect social violence and cruel reality, allowing the audience to observe the structural contradictions in reality and think about the direction when watching movies. At the recent cannes film festival, "parasite" won the top prize palm in cannes by an overwhelming margin, with the highest score of 3.3 issues. Although this film is positioned as a thriller with comedy elements, it presents the opposite life images of Korean classes to the audience in a parasitic way, which not only expands the possibility and artistry of realistic film aesthetics, but also enhances the appreciation of the film and gives play to its own aesthetic value. Focusing on the technical and literary nature of the film, and having a high degree of attention to real life, it is an excellent work that tells about class opposition and thinking about reality. This paper considers and analyzes the content, form and creation method of parasite, and discusses the continuous exploration and attempt of realistic film to image language under the demand of market and system, evolving into new aesthetic expression.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.81-82
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• 2019

홍콩은 독특한 영화문화를 탄생시켰고, 그 특징을 이어오고 있다. 특히 최근에는 포스트모더니즘의 흐름을 잇는 작품이 잇달아 등장하면서 독특한 경향을 형성하고 있다. 이에 본 연구자는 포스트모더니즘을 이어가는 홍콩영화의 의미와 의의에 대해 연구하여 그 미학적 특징을 밝히고자 한다. 특히 <중경삼림>의 작품을 중심으로 그 특징을 분석하여 영화의 해석과 제작에 기여하고자 한다.

• Review of Korea Contents Association
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• v.17 no.4
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• pp.19-21
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• 2019

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2012.10a
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• pp.68-71
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• 2012

• 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.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.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.776-783
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• 2016

Discussion of facial image of the movie starts is recognized as an art movie that started from silent film period. Critical discussions on the facial image initiated with the emergence of 'close-up' are performed in the context to claim the superiority of close-up format. Therefore, the trend of critical discussion on the facial image differs from two perspectives to perceive close-up in this era. The first perspective is to privilege both face and close-up since close-up is recognized as the unique tool to realize the face considering close-up as the independent body to have new aesthetic feasibility of the movie. The second perspective is to consider close-up as one of the plots in the movie language to complete its narration. In this case, it is perceived as just a short, which has no differentiation from the others, as long as the facial image does not interfere the completeness of the narration, because the characteristics of close-up to highlight the subject more than the other short is not recognized as the unique form to complete the movie, and because it has the meaning only when the subject and the format aim to maintain the completeness of the narration.

• Proceedings of the Korea Contents Association Conference
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• 2014.11a
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• pp.175-176
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• 2014

영화<씬 시티>는 프랭크밀러 원작의 만화 '씬 시티'를 영화로 만든 작품이다. 흑백영상과 조명, 원색의 컬러와 뒤에 배경을 컴퓨터그래픽으로 배치함으로써 표현주의를 바탕으로 한 필름 느와르 장르와 원작의 컷을 사용하여 그래픽 노블 이미지를 영상으로 연출하였다. <씬 시티>를 분석하여 이를 통한 영상 미학적 특성과 비쥬얼 스토리텔링에 대해 살펴 볼 수 있는 연구라 사료된다.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.138-145
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• 2009

Humanism connotes dignity and esteem with the essential idea of human and more human. This paper has conducted a inquiry of the understanding about human and humanism represented by visual image of film. Especially, this study investigated the way to adhere to reflective attitude about human and society. It is based on theoretical discussion of formalism and auteurism and analyzed the way of constructing time-space structure of (by Lars von Trier) which is known the typical formalism film. According to the findings, appeared to appropriate the ocularcentrism aesthetic to film form and give the self-regulation to definite the idea of film art through picturesque imagination of dramatic stage. Such a result means that it converts the filmic time-space to the virtual things and practicalize the classification of the ethical doctrine of innate goodness and innate sin of human and the definition of humanism. Also it means formalism film overturns the existing institutional mode of representation.