• Cartoon and Animation Studies
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• s.41
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• pp.511-531
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• 2015

The underlying impetus of the birth of animated film is attraction about a moving image. And the animation image occurs from the process of performative relationship between an animator and apparatus. Therefore, analysing the method how the moving image is constructed will be the focal starting point to deal with an animated film as a text. In this context, that conveys the theme in more sensuous way will be examined in a dimension of the material, technique and image-making method. KIM Jin-man's is a Stop Motion Animated Film with Noodlescreen about a journey of a fish that wishes to go outside of the water. KIM created original and friendly images out of plain thin noodle which is a common ingredient in Korea, and dealt with the ontological introspection based of the concept of Nondualism. Nondualism based on the interconnected and cyclical eastern philosophy which is different from the western dualistic theory points to the idea that the universe and all its multiplicity are ultimately expressions or appearances of one essential reality. This paper focuses on KIM's recent work and sees how Nondualism is applied throughout the animated film by analysing the performative method of mediums, technique, and structure. First of all, the form of Noodlescreen will be reviewed in Chapter Two. Pinscreen Animation which was invented by Alexander Alexeieff and Claire Parker will be also compared with Noodlescreen in the aesthetic viewpoint here. In Chapter Three, it will be analysed how the description of the image of binary opposition itself provides expanded sense and rich metaphor. Lastly, the format of Mise-en-abyme going constantly towards outer space will be dealt how it exposes the cinematic illusion and spatiality in Chapter Four. Throughout the whole chapters, it will reviewed how the concept of Nondualism relates the images of and deactivate the boundary of binary opposition in terms of both the story development and the visualization method. By this methodology, it will be confirmed that image of animated film not only explains the narrative but also activates the perception about the theme and provides integrated sensory experiences in the independent and expanded dimension.

• Journal of the Daesoon Academy of Sciences
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• v.37
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• pp.329-355
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• 2021

The objective of this paper is to reveal that the formation of Deleuze's system is a result of a back flow of the 'ideal of pure reason' in Kant's system. I will try to seize upon the keyword in his main book, Difference and Repetition, and examine the aspect of mutual transformation between Deleuze's transcendental empiricism and Kant's transcendentalism. When analyzing Deleuze's system, most researchers tend to focus on anti-Hegelianism, but it is proper that Kant be adopted as the start when tracing the way of deployment directly. Fundamentally, Deleuze is different from Hegel in his approach to observing entire ground of thought. Even if Deleuze surely has the capability of becoming in the dialectical context, his systemic environment wherein dialectics is applied is different even at the onset. While Hegel follows the way of origin and copy or a system that begins from a preceding point of origin, Deleuze follows a way of copy and recopy or a system that begins without a point of origin. This characteristic of Deleuze's system originates directly from idealistic play. In fact, we can anticipate and identify in his book that he refers to Kant who accepted the tradition of empiricism. Therefore, the main contents of this paper is to present an overview of Kant's influence on Deleuze's system. While tracing ideas back to Kant's system, the cohabitation of empiricism and rationalism, which Kant felicitously revoiced, there emerges a definitude of world recognition. This occurs through cohabitation, and this is both deconstructed and integrated by Deleuze, and therein definitude is turned into a vision of prosperity. To the vision of prosperity that spans definitude to recognition, a philosopher has the right to select a philosophical system because selection methodology in philosophy is not a problem of legitimacy so much as the needs of the times. Deleuze's choice resulted in the opening of pandora's box in an abyss and secret contents have in turn risen sharply.

• Journal of Korean Philosophical Society
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• v.145
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• pp.245-270
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• 2018

This article aims to examine the possibility of 'philosophy for old age' when humanity begins to reflect on old age in earnest as our country shifts to the aged society. In particular, this article aims to reframe $Ved{\bar{a}}ntic$ philosophy, i.e. a beacon of Hindu philosophy as a model of philosophy for old age, on the assumption that liberation-oriented Hindu philosophies in India can be the most suitable model to frame and apply philosophy for old age mainly at the individual level. First of all, this article identifies that liberation-oriented Hindu philosophies are nothing but a philosophy for the later part of one's life, that is, a philosophy for old age, showing that their common thoughts are very similar to the characteristics of old age. Then, it proves that three points of $Ved{\bar{a}}ntic$ philosophy, i.e. spirit supremacy, the world as an illusion, and freedom from all relations, are fully compatible with philosophy for old age. Finally, it argues that the tradition of Hindu saṃnyāsin (wonderer) embodied to the extreme in $Ved{\bar{a}}ntic$ philosophy is to establish 'old age for philosophy' beyond 'philosophy for old age.' Because $Ved{\bar{a}}ntic$ philosophy establishes saṃnyāsin of old age, which is optimized to strive for the truth as the confident subject of philosophical inquiry, so much that it exists more 'by old age' than 'for old age.' After all, according to $Ved{\bar{a}}ntic$ philosophy, as ontological and practical positivity is maximized in old age, so old age itself can be the best position to overcome not 'negativity of old age', but 'negativity of human condition' or 'negativity 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.

• Cartoon and Animation Studies
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• s.47
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• pp.335-356
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• 2017

With the development of the domestic character industry, the interest in public characters has also been increased as like the characters of industrial contents. The public character is a non-commercial character implicitly expressing the symbolism shared or directed by members of the specific region, organization, organization, organization, or event. It has been distinguished from commercial design, aiming the profit for a specific person or group, and it has been given the role coincided with the purpose of public design, pursuing social value such as citizens' happiness, happiness in the subject and object, aiming value and role of design. Public characters has been grown around the local government character development, but most of the characters were not practically utilized. However, as interest in public characters has been increased, those have been received worm welcome again as a means of expressing the uniqueness and identity of the region. In this paper, we have tried to study the expression of identity of public character by substituting the site-specificity. The site-specificity is referring the art of the time that focuses on the region in contemporary art, a work in which the meaning is created by a specific region and situation. Currently, as a main role of public character is representing the region or the institution, its identity and value can be judged by the community it belongs. Through this, it is intended to study the social meaning of the character in the region as a public design.

• Korean journal of communication and information
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• v.69
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• pp.71-110
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• 2015

Beyond the technological behaviorism-oriented notion of prosumers, the current study explores the question of digital creative labour of the youth in the interrelated context of post-capitalist crisis and neoliberal ethos of selfhood. This analysis is situated particularly in the social conflicts and struggles in Korea, where the problems related to the precarization of the younger generation have been increasingly aggravated (in the realm of embodied reality) whereas their digital activities have been highly expressive (in the realm of mediated reality). The contradictions embedded in the question of the labour of the youth are delineated in the respect of the subjectivities of young free labour, or 'digital creative labour' in proposed terms: the precarious young free labour in Korea is the compound of social fragmentation, economic polarization, expansion of cognitive and emotion labour, boom of hedonistic consumerism, economic-cultural celebration of creativity and self-entrepreneurship, technological saturation of digital media, subjective/collective affects around excitement and ambition but also of anxiety and fear. The ambivalence and complexity of the young free labour is converged at the emergence of homo-economicus (Michel Foucault) through the subjectivation of the social (con)fusion of post-capitalist crisis and neoliberal governmentality of selfhood.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• The Journal of the Korea Contents Association
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• v.19 no.5
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• pp.163-177
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• 2019

This study is concerned with "fiction" as a new form of writing over the limits of the post-modernist theater/arts. Fiction is not something illusory that demands the audience's empathy but something that unveils form's disinterest in content. Thus, in this paper, I examine a fiction as the opposition of any representational norm and words' old mimesis. Rebutting the crisis of post-modern art and the end of images, philosopher Jacque $Ranci{\grave{e}}re$ mentions the possibility of appropriating similarity in an imitative way by twisting Platonic mimesis. The image of this similarity wanders alongside the loss of signification, unmasking the form's indifference to content. These wandering words represent their own truth "in a way fossils or grooved stones encapsulate histories" as hieroglyphics. This "fiction" as an alternative of post-modernist plays is not any confrontation of reality but the "movement of thinking" that allows the human spirit to play in a way of shaping "some substantiality." In this sense, I examines works by two French writers, $Jo{\ddot{e}}l$ Pommerat (1963~) and Jean-Claude Grumberg (1939~ ) who have carried out their writing practices of appropriating similarity that dissolves any simple "immediate reflection" for non-intermediate relations between the producing and the produced. Their writing is a cross of literary creation and "le politique" as a new aesthetic practice of writing and reveals the movement of thinking, departing from the preexisting concept of fiction.

• Cartoon and Animation Studies
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• s.42
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• pp.177-194
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• 2016

This study investigated an evolutionary process of In-game Animation and researched on the action of realization establishing virtual reality. In-game Animation, functioning as contents to visualize games, is responsible for conveying information to achieve goals of games. In-game Animation which is affected by graphic technology was initiated with setting up indicators by dot and line. Followed by the development of technology, In-game Animation has pursued realization, after passing through processes of iconography, materialization, and dimensionalization. The realization of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is very important to provide the experience of immersion, as it forms a sense of presence through such visual tactility. The process to create meaning of reality provides gamers with experiences, and leads them to expand senses through visual perception and finally absorb the virtuality as reality. Therefore, the image of In-game Animation does not simply imitate the real world but creates meaning of reality by establishing space with various factors such as characters and background along with the story, under the premise of virtuality. The realization of In-game Animation is not limited to blindly portray a realistic image. In addition, the process of realization pursued by In-game Animation is an action to immerse in the game rather than a mere product of technological development.

• Journal of the Korean association of regional geographers
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• v.23 no.1
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• pp.23-46
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• 2017

This article examines the sexualization of place under conditions of the compressed modernization and reflexive cosmopolitanism. In particular, I adopt Michel de Certeau's spatial didactic model of strategy and tactic to investigate the dynamics at play in the gay labelling of a Coffee Bean & Tea Leaf (Coffee Bean) in South Korea, and explore the 'gaying' that takes place within preconceived heteronormative space. Using interview data, I additionally explore the negotiation tactics and coping mechanisms at work when gays compete with heterosexuals for non-gay place. The results illustrate how gays gay in heteronormative space and how heteronormative space harmoniously embodies gay men. The findings suggest that spatial location and tactic play important roles in stimulating compromise of sexual territory. Gay Bean benefits from being nestled between locations with histories of tolerance, while it also prospers from reflexive cosmopolitan ideals of diversity and acceptance of others. Gay identity and gaying is interpreted as foreign in Korea, which buttresses gay performativity in spaces welcoming of foreigners and so-called "deviance." However, how gaying functions within place relies not only on spatial histories of tolerance outside, but also on the tactics of identity negotiation within. The findings suggest that spatial and tactical conditions induce gay individuals to police other gay-identified individuals when gays gay in so-called heteronormative places.