• Title/Summary/Keyword: Action Hero

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Analysis of Directing Super Hero Action Thriller (슈퍼 히어로 액션 스릴러 <다크 나이트>의 연출 분석)

  • Lee, Jeong-Gook
    • The Journal of the Korea Contents Association
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    • v.11 no.4
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    • pp.140-154
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    • 2011
  • Through this thesis, I intended to analyze superhero action thriller through that achieved in art and box office after the film release. I would to access about it centering around directing viewpoint. of Christoper Nolan is evaluate as 'upgraded excellent action thriller'that have remarkable theme and excellent visual. Analysis of directing'll classify both contents and form. See about contents... theme of existential dilemma about the good and the evel, characters who is grew more powerful, and deeper than Batman series in old times. the fifth plot, especially dramatic plot by Joker's game, and various irony and motif. About form... efficient use of IMAX camera, prominence of action directing about car chase and fighting... better editing and music and art than former super hero series. The most important merit of is it's a philosophical theme. It is dipicted very seriously and successfully. First of all, the film has more advanced technique power and new directing style.

A Study on Female Hero Characters in Animation According to the Feminist Cultural Theory - Focusing on Korean·American·Japanese Animation - (여성주의 문화이론에 따른 애니메이션의 여성 영웅 캐릭터 비교 분석 - 한·미·일 애니메이션을 중심으로 -)

  • Kim, Juna;Chung, Eunhye
    • Cartoon and Animation Studies
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    • s.36
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    • pp.91-119
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    • 2014
  • This paper analyzed and compared the storytelling of female characters in Korean, American, Japanese animations and revealed the ideal image of woman of each culture. Chapter 2 analyzed the superficial images of the female characters and figured out how these images reflected awareness of a reality. This paper revealed that female characters act as a representative cultural symbols and embodies the paradigm and the order of those cultures. In Chapter 3, this paper analyzed and compared how the female characters solve the dramatic events in the entire narrative structure, and revealed the cultural implications of their action and these events. Korean characters were imitating the idols as an extension of the real world, and American characters were drawn as unreal Super Heroes who were utilized to enhance the order of the world if the United States. Japanese characters, the magical girls are led to create a magic circle and then become surreal goddesses. In this way, this paper revealed that female characters in animation reflect the male-centered ideology of each culture according to the awareness of a reality and cultural paradigm.

A Study on the Line of Action Shown in Characters' Poses of a Game 'Over Watch' (게임 '오버워치' 캐릭터의 Pose에 나타난 Line of Action 연구)

  • Lee, YuSeop;Chung, JeanHun
    • Journal of Digital Convergence
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    • v.15 no.12
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    • pp.489-494
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    • 2017
  • In spite of lots of differences in the production process of film animation, the animating method through computer is not much different between game animation and film animation. It is because the principles of film animation are also emphasized for the production of game animation. This study aims to consider the line of action showing the direction of movement and flow of energy among many considerations for the character pose work in case when producing game animation. Starting from the basic theory of drawing, the line of action plays a role of bible in the pose work including cell animation and 3D animation. After examining the theoretical background through preceding researches in order to understand the application of the line of action to the pose work of game characters, the poses of hero characters of a 3D online game 'Over Watch' were collected and then lines were directly drawn to analyze them. And as a result, the pose of characters with simple and clear 'Line of action' was good. This study aimed to consider the expression techniques of character pose in the production of game animation, which is expected to be used as an important reference for game animators at work.

Expression Factors of Pace and Dynamics in Drawing Animation - Focused on Japanese Hero TV Animation Series - (드로잉 애니메이션에서 속도감과 역동성의 표현 요소 연구 - 일본 초인물 TV 애니메이션 중심으로-)

  • Kim, Hyun-Woo;Kim, Jae-Woong
    • Cartoon and Animation Studies
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    • s.40
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    • pp.109-137
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    • 2015
  • As Digital technology developed, drawing animation, using traditional production method which expresses many feelings with drawn lines loses the youth group, the primary audience, to the realism of the digital cinema. Drawing animation, which drew attention of the youth by the spectacles in the film such as hectic pace, dynamics and punch, declined for a while. However, it has been developed a way to express pace and dynamics of its own by establishing an effective directing method, which combines digital technology as it is needed. This study has a purpose to investigate what causes the dynamics and feeling of fast movement of the character in Japanese limited animation. Though some action-animated films that heroes with supernatural powers take the leading role that feeling of velocity and dynamics are emphasized we compare the directing method before and after the introduction of the digital technology. This research reaches the conclusion by factoring each Bergson and McLuhan's discussion to the intervention of indexical signs and the audience's participation according to skipping technique. This study has a significance of researching the element of drawing animation that maximizes the expansion of the senses by defying the limitation of the law of physics through its unique way of directing together with growth of the hero films, which will continue.

Time-Shift technique in Joseph Conrad's Lord Jim (조셉 콘라드의 『로드 짐』에서의 시간 전도 기법)

  • Park, Sun-Hwa
    • English & American cultural studies
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    • v.9 no.1
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    • pp.221-237
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    • 2009
  • This paper analyzes the time-shift technique in Joseph Conrad's Lord Jim. Conrad's manipulation of time in this novel is based on his aspiration for how 'to make you see,' which he believes is completed through the harmony form and substance in his works. So Conrad applies this technique which was used earlier by some writers such as Laurence Sterne to his Lord Jim to show its theme more effectively. In Lord Jim, the story consists of two parts; first, Jim jumps from a ship called the Patna and is deprived of his navigation certificate. Secondly, he wins the people's respect in Patusan in which his past related to the Patna remains hidden, but he faces his death by taking responsibility for the death of the chief's son in the island. These events in Lord Jim are not described in chronological order; that is, some events are depicted with the time-shift technique using flashback, association, or fragmentary memory to accelerate the speed of stories as well as to offer the actuality of the events. With this structure, the themes of Jim's story have something to do with his heroic actions and failures. Jim wants to be a hero and after failures he struggles to redeem himself only to fail. In particular, Jim's jump from the Patna is emphasized through the time-shift and it shows there is something incomprehensible in his action. Therefore, Conrad reveals in Lord Jim that Jim is one of us who not only are imperfect but also have the weaknesses inside that can unexpectedly emerge in an instant.

Nurses' Experiences of the COVID-19 Crisis (COVID-19 위기상황에 대한 간호사의 경험)

  • Lee, Jung-Hoon;Song, Yeoungsuk
    • Journal of Korean Academy of Nursing
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    • v.51 no.6
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    • pp.689-702
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    • 2021
  • Purpose: This study aimed to develop a situation-specific theory to explain nurses' experiences of the COVID-19 crisis. Methods: The participants were 16 hospital nurses who experienced the COVID-19 crisis. Data were collected through in-depth individual interviews from September 2, 2020 to January 20, 2021. Transcribed interview contents were analyzed using Corbin and Strauss's grounded theory method. Results: A total of 38 concepts and 13 categories were identified through an open coding process. The core category found was becoming a pioneering nurse who turns crises into opportunities. The causal conditions were the chaos of being exposed defenselessly to an unexpected pandemic, fear caused by a nursing care field reminiscent of a battlefield, and moral distress from failing to protect patients' human dignity. The contextual conditions were feeling like the scapegoat of the hospital organization, increasing uncertainty due to the unpredictable state of COVID-19, and relative deprivation due to inappropriate treatment. The central phenomenon was suffering alone while experiencing the dedication of the COVID-19 hero image. The action/interactional strategy were efforts to find a breakthrough and getting the nurse's mind right, and the intervening conditions were gratitude for those who care for broken hearts and getting used to myself with repetitive work. The Consequences were becoming an independent nurse and frustration with the unchanging reality. Conclusion: This study provides the foundation for the nurse's situation-specific theory of the COVID-19 crisis by defining the crisis perceived by nurses who cared for COVID-19 patients and suggesting types of coping with the crisis.

A Hong Kong Born Director's Chinese Theme Film : Changes and Influence of Lin Chaoxian's film (홍콩 출신 감독 린차오셴(林超賢) 영화가 중국 주선율 영화에 미친 영향)

  • LI, LA;Moon, Jaecheol
    • The Journal of the Korea Contents Association
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    • v.22 no.9
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    • pp.147-155
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    • 2022
  • This article analyzed the new changes Hong Kong director Lin Chaoxian has brought to theme films of Mainland China and the factors affecting these changes. The objects of the analysis are Lin Chaoxian's films (2016), (2018), and (2020). Compared with Mainland China directors suffering from heavy political burden, Dante Lam directed theme films based on the model from commercial films and adopted lots of elements from Hong Kong films. There, the ideology expression in these theme films was no longer rigid, but a diversified value embodiment resonating with the audience. At the same time, these theme films achieved higher commercial value, in which the stereotyped and unrealistic hero images were replaced by realistic and compound characters, and the display of cool or violent action scenes contributed to lots of visual feasts. All the changes were influenced by the audience preferences and the development of private enterprises in Mainland China.

Oedipa's Quest and Two Americas (에디파의 탐구와 두 개의 미국)

  • Son, Dongchul
    • English & American cultural studies
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    • v.9 no.1
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    • pp.273-295
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    • 2009
  • As Oedipa Mass, the heroine of Thomas Pynchon's The Crying of Lot 49, is apparently associated with Oedipus, the hero in Sophocles' tragedy, this paper aims to show some of their similarities in quest theme and plot development as well as in the use of dramatic irony. Oedipus the King opens with a priest's pleas to relieve the Theban people from a plague and the king's promise to rid its cause by avenging the murder of the former king, as told by the oracle. Lot 49 begins as a Los Angeles law firm informs Oedipa that she is named as the executrix in her former lover Inverarity's will to sort out the mogul's estate. Ironically, however, Oedipus' investigation reveals himself to be the very cause of the national disaster, the murderer for whom he searched. Likewise, Oedipa starts her inquiry dedicating herself to make sense out of what Inverarity had left behind, only to find that the legacy was America. Sophocles and Pynchon both employ dramatic irony to provide a controlling principle for plot development in their works. In Oedipus the King, Sophocles creates mounting tension as well as distance between the reader's knowledge and the protagonist's ignorance, compressing the play's action into the moment that Oedipus discovers his real identity. For dramatic irony, however, Pynchon tends to work through authorial comments and utilize allegorical meanings of the characters' names, directing his novel at illuminating Oedipa's discovery of Inverarity's legacy as well as the meaning of Tristero, an underground postal service system. Unlike Oedipus the King that proceeds on a single line of action, Lot 49 develops in esoteric, multi-layered allusions and intricately-interrelated double strains involving Oedipa's roles as executrix and quester. At the end of Sophocles' tragedy, Oedipus stabs his eyes and decides to live in exile, realizing that, blinded, he begot his children through his mother; Oedipa comes to a painful realization that she allowed her former lover to create death-orienting America without her diversity and moral system in old times. As Oedipa now discovers herself through her search for Tristero, her tragic spirit lies in her determination to confront her binary choices between two Americas: transcendence or entropy, the Tristero possibility or Inverarity's America. Ultimately, Oedipa tries to find who will be the bidder for the Tristero forged stamps designated as lot 49, awaiting the auctioneer's cry and the "crying" of a new-born America.

Five-stage Anger Model Approach to Narrative and Protagonist's Revolt Action Mechanism in the Movie, "The Man Standing Next" ('분노의 5단계 모델'관점의 영화 <남산의 부장들> 서사와 주인공의 거사 결행 기제)

  • Kim, Jeong-Seob
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.3
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    • pp.285-294
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    • 2020
  • "The Man Standing Next" was a 'anger-character movie' that shows a fierce psychological game between the characters. Inspired by this point, it was analyzed the narrative structure of this film based on scene unit applying the 'Five-stage Anger Model' formulated by Lakoff and Kövecses and others. The results showed that the causality and feasibility of the protagonist's anger behavior were highly reflected above the model. In particular, among the five steps, the film-maker spent the longest time on 'anger control' justifying the hero's motivation for punishment or retaliation, while giving the shortest time to 'loss of control' to maximize the urgentness of the punitive actions. The detonator causing his anger at each stage was disposed two to six times each stage with neglect, contempt, arrogance, ostentation, mockery, unauthorized intervention, etc. Sneering of "Chief Security Officer" and insulting of "The President" make the protagonist feel the scorn of a terrible friend-murderer each functioned as a "rage trigger." In conclusion, the film follows the above sophisticated model in its narrative structure. Though it was a political drama that sets up a lot of anger scheme caused from public reasons, it reflects ordinary people's routine anger, which corresponds to 24 percent of the list of Nobaco's Provocation Inventory (PI). The producers elaborately reflected the anger procedure theory and balanced the public and private drivers of rage. It was considered to be derived from the intention to enhance communication with the audience increasing their understanding and aspiration for political movie that are usually heavy and unfamiliar.

Weaving the realities with video in multi-media theatre centering on Schaubuhne's Hamlet and Lenea de Sombra's Amarillo (멀티미디어 공연에서 비디오를 활용한 리얼리티 구축하기 - 샤우뷔네의 <햄릿>과 리니아 드 솜브라의 <아마릴로>를 중심으로 -)

  • Choi, Young-Joo
    • Journal of Korean Theatre Studies Association
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    • no.53
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    • pp.167-202
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    • 2014
  • When video composes mise-en-scene during the performance, it reflects the aspect of contemporary image culture, where the individual as creator joins in the image culture through the device of cell phone and computer remediating the former video technology. It also closely related with the contemporary theatre culture in which 1960's and 1970's video art was weaved into the contemporary performance theatre. With these cultural background, theatre practitioners regarded media-friendly mise-en-scene as an alternative facing the cultural landscape the linear representational narrative did not correspond to the present culture. Nonetheless, it can not be ignored that video in the performance theatre is remediating its historical function: to criticize the social reality. to enrich the aesthetic or emotional reality. I focused video in the performance theatre could feature the object with the image by realizing the realtime relay, emphasizing the situation within the frame, and strengthening the reality by alluding the object as a gesutre. So I explored its two historical manuel. First, video recorded the spot, communicated the information, and arose the audience's recognition of the object to its critical function. Second, video in performance theatre could redistribute perceptual way according to the editing method like as close up, slow motion, multiple perspective, montage and collage, and transformation of the image to the aesthetic function. Reminding the historical function of video in contemporary performance theatre, I analyzed two shows, Schaubuhne's Hamlet and Lenea de Sombra's Amarillo which were introduced to Korean audiences during the 2010 Seoul Theatre Olympics. It is known to us that Ostermeir found real social reality as a text and made the play the context. In this, he used video as a vehicle to penetrate the social reality through the hero's perspective. It is also noteworthy that Ostermeir understood Hamlet's dilemma as these days' young generation's propensity. They delayed action while being involved in image culture. Besides his use of video in the piece revitalized the aesthetic function of video by hypermedial perceptual method. Amarillo combined documentary theatre method with installation, physical theatre, and video relay on the spot, and activated aesthetic function with the intermediality, its interacting co-relationship between the media. In this performance theatre, video has recorded and pursued the absent presence of the real people who died or lost in the desert. At the same time it fantasized the emotional aspect of the people at the moment of their death, which would be opaque or non prominent otherwise. As a conclusion, I found the video in contemporary performance theatre visualized the rupture between the media and perform their intermediality. It attempted to disturb the transparent immediacy to invoke the spectator's perception to the theatrical situation, to open its emotional and spiritual aspect, and to remind the realities as with Schaubuhne's Hamlet and Lenea de Sombra's Amarillo.