• The Journal of the Korea Contents Association
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• v.20 no.6
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• pp.51-63
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• 2020

This study analyzed newspaper reports in the United States and South Korea that focused on Parasite's unprecedented performance at the 2020 Academy Awards. The research focused on the power relationship between 'the established and the outsiders (Elias & Scotson, 1994)' as represented by the Academy Awards and Parasite, respectively. Qualitative content analysis and text analysis were conducted to examine the reporting of American and South Korean newspapers and illuminate three aspects of the power relations between the Academy Awards and Parasite. Three major findings were derived. First, the Academy traditionally has a reputation for marginalizing films with a non-English or Asian background, but recognition of Parasite at the 92nd ceremony changed the Academy's established position of power. Second, historically, the Academy Awards had been characterized by a group charisma that exerts stigmatization (through an English-oriented policy and language stigmatization) and accords North American films priority over non-English movies. Lastly, the reports of newspapers in the two countries are generally similar, but the Korean articles internalized the individual, society, and the state.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.234-255
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• 2013

Korean Academy of Film Arts (KAFA) is the film school run by Korean Film Council (KOFIC). KAFA was established in 1984, benchmarking American Film Institute (AFA) and in order to foster manpower for Korean Movie under the US's pressure of domestic movie market opening in Korea. The Korean Movie market was open to the world by 1987 and suffered from the low Korean-produced movie market share of around 20% in the domestic market from 1987 to 1998. During the last 30 years, KAFA plays the key role in the Korean movie making industry. Of 520 of number of their alumni, the number of directors is 101, 33 of cinematographers, 18 of producers and 21 of professors in universities' film departments. Korean Directors, Bong Joon-ho of (2013) and topped over 10 million domestic admissions to become the most-watched Korean films of all time. Now, with KAFA's relocation to Busan following with KOFIC, their new roles are promotion of the film industry in Busan, recruiting and educating new talented Korean and foreign student filmmakers, becoming an international film school.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.145-153
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• 2020

In the rapidly changing era of the fourth industry, big data is being used in various fields. In recent years, the use of big data has been rapidly applied to overall cultural and artistic contents, and among them, the use of big data is essential as a film genre with a lot of capital. This research method is analyzed as the film , which won the Palme d'Or Prize of the 72nd Cannes Film Festival in 2019 and the works and directors' award at the Academy Awards. The analyzed value predicts the film's performance through opinion mining, which gives the value of the change and sensitivity of each data cycle, and extracts the utilization index and topic keywords of SNS such as Facebook and Twitter to reflect the audience's interest. Identify the factors. As such, if model performance and model development can be predicted through model analysis of film performance using big data, the efficiency of the film production process will be maximized while the risk of production cost and the risk of film failure will be minimized.

• Journal of the Korea Computer Graphics Society
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• v.14 no.3
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• pp.19-30
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• 2008

Fluid simulation for computer graphics is a field of generating the realistic movements of water, smoke, fire, explosion, sand and related phenomena to be used in motion pictures and video games. In this paper we review the fluid simulation technologies and present a trend analysis for the simulation methods used in the recent movies. First of all, for this purpose, the two methods that are most widely used for fluid simulation are explained as well as their technical issues. These two methods are classified into Eulerian grid-based and Lagrangian particle-based approaches. Next, focusing on the achievements of the scientists and engineers that the 2008 Sci-Tech Oscar Awards are given to, the features of their fluid simulation technologies are analyzed. Finally, we anticipate that there are and will be the needs for visualizing fluid interaction with rigid and soft bodies and topological change among solid, fluid and gas, creating digital creatures based on fluid simulation and presenting interaction between creature and fluid.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.75-88
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• 2021

The film won the Golden Palm Award at the Cannes Film Festival, and received the Academy Award for a non-English-speaking film in February 2020, respectively. It has received a monumental evaluation in the world film history. Overall, this film is about class conflict, and critics evaluate the theme of the film as "badly twisted class gap" and "anger from class." The film expresses an intrinsic conflict embodied in culture as a "tragedy in which no bad person appears," rather than the dichotomous composition of the classical class struggle from Marxism. In other words, this can be seen as expressing the substrated class relationship of the modern society that Pierre Bourdieu had argued. This film has been focused as a controversial target under Korea society with excess of ideology. Politics used to adopt the keyword, 'parasite', for political disputes not only in culture contents world. Paradoxically socialism China did not allow to release film 'Parasite.' On the other hand, Lee O-Yong argues that the movie "Parasite" does not look at social phenomena through a dichotomous perspective, but is viewed through a "double perspective" and evaluates that it does not lose eyes looking at humans through tension. This view is based upon 'Vital Capitalism'. Lee. O-Yong looks at the movie "Parasite" from the perspective of "Vital Capitalism". The theory of Vital Capitalism does not seek to find the root of historical development in class struggle conflicts, but rather figuring out history and society pays attention onto the intrinsic characteristics of life, Topophilia, Neophilia, and Biophilia. Lee Eo-ryeong argues that the development of civilization theory evolved from the stage of Hobbes' Darwinism or predatism to the stage of host vs. parasite of Michel Serres, and onto the stage of Margulis's 'Win-Win (inter-dependence)'. In this paper, after overview of vital capital concept and preceeding research, re-interpretations were tried onto scenes based upon fields from habitus, culture capital. This exploration looks for a alternative for excess of ideology in Korea society.

• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Cartoon and Animation Studies
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• s.49
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• pp.611-631
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• 2017

At first there was practice, then festivals and theory followed. Compared to the animation production, which is older then the medium film itself, festivals and theory in this area started with a delay. While animation programs where shown in film festivals like Cannes since the mid 1940s, the first animation festival in Annecy, France was founded in 1960, followed by several short-lived events in Romania, Italy and Tokyo and finally in 1972 by the second oldest festival up to date, Animafest Zagreb. Animation theory evolved in the late 1980s in the Anglo-American area with associations like the Society for Animation Studies, following its 'big sister' film studies. Expanding ever since as a research area, European animation studies in e.g. France, German speaking countries, Poland or Croatia have been catching up in recent years by organizing theoretical conferences and publications. A vivid synergy between practice, festivals and theory has always been a key factor for establishing a platform for the art form and culture of animation. However, in the past few years a trend could be observed towards a more intense interaction between animation festivals and theory. Animation festivals are hosting theoretical and scientific symposia or conferences, which are open for artist positions and insights into the industry. At the beginning of the lecture a short reflection of the concept of Animafest Scanner itself is followed by an introduction of the Symposium Expanded Animation at the media festival Ars Electronica Linz. The talk will subsequently focus on the multilayered academic symposia at the Festival of Animated Film ITFS and the International Conference on Animation, Effects, VR, Games and Transmedia in Stuttgart. These case studies will reveal the blurring boundaries between art, science, theory and industry as well as the specificities of the interplay between artists, practitioners, scholars, curators and festival visitors in different formats.

• Cartoon and Animation Studies
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• s.37
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• pp.361-392
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• 2014

Regarding works that express objects realistically in painting, Gustave Courbet advocated realism in the mid-19th century, France, resisting the then academist style of painting, and works in realist style were produced in earnest by painters such as H. Daumier or Jean F. Millet, who went along with him. Later, realism has expanded into the realm of general literature, including fine art, which has had profound impacts on works of art and literary works. In comics, too, in the same historical context as a form of painting, realistic comics began to be produced by painters or cartoonists at the time. These realism comics are those dealing with stories based on facts, and in terms of contents, objective description and representation of the social realities of the times is one of the most important objectives, but it could not be concluded that in their visual aspect, that is, that of expressing the objects, they were realistic. In the meantime, a graphic novel was born, which was the intermediate form between comics and novels around the United States and Europe since the 1980s. Graphic novels appeared in forms and styles with strong literary and artistic values in the comics market in the U.S. which was full of the superhero genre (comics around heroes), and their major characteristics are very realistic expressions in terms of contents and visual aspect. They are complex and delicate and even have artistic, literary values as if readers read a fiction or literary work of which its narrative structures or pictures are produced with graphics. The characteristics of realistic expressions shown in graphic novels are very different from the previous works of comics. It is noteworthy that they began to be acknowledged as works of art like painting or illustration, thanks to their features of strongly individual auteurist painting style, a fairly high degree of completion of the works, and creative and experimental expression techniques or methods, instead of following the fashion of the times. In recent years, in South Korea, Hollywood blockbuster films have been released one after another and become box office hits, there are increasing interest and demand for the original graphic novels. Accordingly, many original graphic novels have been translated and started to be sold, and keeping pace with this global flow of fashion, some writers in Korea began to produce works of graphic novels. However, to look into the domestic works produced claiming to be graphic novels, there are various opinions on their format and authenticity. In this sense, this study focused on Ga-ya Kwon's Namhansanseong, one the representative works of Korean style graphic novels, and in particular, it attempted to analyze their characteristics and commonalities focusing on the visual aspect of realistic expressions of objects. It is expected that there would be an opportunity to seek for ways so that Korean style graphic novel can be further developed as a genre of comics, with competitiveness by looking back on the identity and present state of domestic graphic novels and developing and applying Korea's original subject matters differentiated from those of graphic novels in the U.S., Europe or Japan through this study. In addition, it is desired that they will be a new energizer for the stagnant domestic comics market.