• Journal of the Korean Society of Fashion and Beauty
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• v.3 no.2 s.2
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• pp.1-11
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• 2005

This study is focusing on typicalized character make-up of TV Drama characters. The purpose of this study is to analyze the interconnections of its images and impressiology concretely, and then reflect on an application approach of impressiology. The aim of make-up lies in not only helping actors to visualize their own external qualities, appropriate the quality of a play, but also audience and spectators to be immersed in the concrete fact of i character person. Impressiology will be a data to give the understanding and sympathy of make-up work. I would like to utilize character make-up based on impressiology for creative and effective make-up techniques, and make it a typicalized character. Also I will examine the horizon of a new make-up technique through character development according to the demandes of the times. As a result of this study, we find that expression method of characteristic character generalized representatively is the common quality of impressiologistc image. Also we see that such a impressioiogistic image is useful for the fundamental basis of character expression method.

• Journal of English Language & Literature
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• v.64 no.1
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• pp.77-94
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• 2018

This paper examines William and Ellen Craft's Running a Thousand Miles for Freedom (1860)-a narrative of the enslaved couple's escape from Macon to Philadelphia in the guise of a white male master and a colored slave. Expanding Judith Adler's notion of "travel as performed art," my reading of Running focuses on the Crafts' stratagems of transvestism-crossing boundaries not only of gender, but also of race, class, and disability. If travel can be understood as a form of performed art, then why not address a traveler as a performance artist? I present William and Ellen's role-playing in Running as performers of crossing borders and categories, or, as "fugitive performers," since the couple's story never reaches its final arrival but narrates an eternal run-away, far more than "a thousand miles to freedom." Using social stereotypes of race and gender to disguise, William and Ellen plot, write, choreograph, play, and recite on the moving stages and manipulate the others-especially white American audiences-who accompany the couple's run-away and those who were responsible for the cultural drama-a tragedy of American slavery. Becoming "fugitive performers," William and Ellen de-essentialize and debunk the nineteenth-century America's firm belief in distinct color line between black and white, and in the high yet unstable bars between male / female, abled / disabled, master / slave, and freedom / slavery. The Crafts alert their contemporaries and readers by presenting the complex and permeable boundaries of race, gender, class, social and cultural ability.

• International journal of advanced smart convergence
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• v.12 no.2
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• pp.102-107
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• 2023

Chinese shadow puppetry is an ancient form of drama with a long history. Known as the "mother of Chinese folk opera", it has rich cultural connotations and artistic value. At the same time, as a classic video game genre, side-scrolling games have many loyal fans around the world. However, in recent years, some previous entertainment cultures such as shadow puppetry are slowly disappearing. In contrast, video games play an increasingly important role in people's entertainment. Combining Chinese traditional culture with video games can be a great way to promote the preservation of these cultures. By making traditional culture more accessible and engaging, developers can help to ensure that these cultures continue to be enjoyed by future generations.The side-scrolling game is a classic game type, and it has many similarities with shadow puppetry. This paper will analyze the similarities and differences between Chinese shadow puppetry and horizontal version games, and try to explore how to organically integrate the two, so as to promote the inheritance and development of traditional culture, and promote cultural innovation and the development of creative industries.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.223-226
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• 2006

It can formulate a basic concept to the study on styles of drawing on animation which is influenced by styles of drawing on comic. Especially the transferability of comic and eel animation have high possibility because they have common part as drawing, continuity of imagery and narrative, in spit of the differentiation with comic for spatial and animation for temporal. So the study on comic drawing styles are inevitable check point for investigating it's animation. To analyse of the style of animation drawing, can be employed the styles of comic drawing. For a case study, comic authors and their works is utilized for establishing basic concept of transferring comic to animation with the influence of drawing styles to animation and than it will apply to classify and analyse animation by them. The consequence of this study, it can be sorted in the three areas that are the cheerful comic, the drama, the boy-meets-girl comic. and can be proved that the close relationship of comic and animation. Among three aspects, a boy-meets-girl comic can not be detected in any selected animations. The presumption of this result that can be apply to the general idea which is a rare case to use in animation. Also to use partly cheerful comic to drama style as different drawing styles is for elucidating the effect of intending isolation with the play theory of Bertolt Brecht and empathizing dramatical situation through the disparity of emotion. This study is to investigate on the influence of the drawing style of comics in animation, and can provide the basic ideas of inter-relation of media through drawing styles study with the concept of hybrid.

• Cross-Cultural Studies
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• v.30
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• pp.7-29
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• 2013

A movie which brought its material from a historical character or incidents in the past was produced by a story suggestion through a historical fact. It is because Shakespeare created a story based on a mythical element related with his life in the plot which was written from the script of the play and was on the show in the cinemas of London. It is an obvious fact that the historical drama of this movie was intentionally modified and the fictional story was added to episodes in order to create a dramatic effect. However, reflecting historical backgrounds and cultural aspects accurately through a historical study would also be an important factor. Therefore, the backgrounds and aspects presented in this movie are a kind of storytelling which was reconstructed as if a historian added his opinion to historical facts like a discourse. A historical background in was a story about Shakespeare who worked at the theater in London as a writer in 1593 the period of England Reneissance. The movie included the working and playwriting of Shakespeare who is a main character. This indicated not only the environment of the theater and literature during the reign of Queen Elizabeth I but also historical aspect in the early modern industrial society in England. This movie, that is, described that time as a recreation such as a cultural acceptance and an achievement of an initial capitalism in Renaissance in the life of characters. In particular, the factor of theaters flourishing during the Renaissance was because a newly emerging class, bourgeoisie, who held the capital emerging from a policy for middle class led to a box office hit through founding theaters and drama company and selling tickets and performing plays by themselves. Like this, the movie depicted the time led by plays to a industrialization. Moreover, Social aspects in the late 1500s were revealed in this movie through a depiction of the cinemas and the city of London. The depiction of the city of London reflected a social situation of an initial capitalism rapidly developed in trade and commerce. The social aspects such as conflicts between social classes based on getting richer and poorer, mammonism, a corrupted love between the male and the female, a immortality with growing brothels, religious and political conflicts with the foundation of the church in England were closely linked with characters' daily routine at that time in London and were reflected in this work overall. The reason why we highlight characters' job and custom like this in the movie is that these are ideationally inherent in a critical mind from people at that moment. The historical background and reproduction of the image depicted in the movie were focused on characters' daily routine and indicated the problem mentally and independently exposed in the form of initial capitalism.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.161-180
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• 2021

The purpose of this study is to define Juan Mayorga's play Hamelin as a Post-Epic Theatre and to study the practical directing technique for Hamelin as a Post-Epic Theatre. Post-Epic Theatre, which appeared after the Post-drama, has the purpose of presenting social issues, communicating interactively between the actors and the audience, and making the audience think about the issues presented by the techniques of immersion and alienation. To this end, after examining the theoretical background of the Post-Epic Theatre, the characteristics of the Post-Epic Theatre of Hamelin were identified and based on these features, '1. Building a visual image based on a Cubistic multifocal concept' and '2. The concept of directing was derived from reinforcing Meta-drama through role-playing'. Next, the actual directing technique was discussed, focusing on the chain action of immersion and alienation that occurs in the form of communication between actors and audiences. '1. Presenting the characteristics of the work through Post-Epic Theatre scenography', '2. Co-existence of actors and characters', '3. Building and utilizing body-centered gestus' are them. As a result, demanding an active attitude from the audience, various experiences such as critical thinking of the audience, strengthening the characteristics of post-epic dramas, and active meaning creation were made possible.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.551-557
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• 2024

Early childhood cultural and artistic education is a process of expressing oneself and understanding society, which has a great impact on the lives of young children. It utilizes the principle of individualization, which means that individual diversity should be considered because each toddler has different developmental characteristics; the principle of play-centeredness, which means that toddlers form active attitudes toward experiential activities through enjoyment through play; the principle of integration, which is the foundation for holistic development; and the principle of direct experience, which means that toddlers have the experience of touching and manipulating materials. In the introduction, children are encouraged to explore and think about materials, read and share books together, and express their thoughts creatively through artistic expressions such as art, music, physical expression, drama, movies, and photography in the first and second phases. In the final stage, a teaching and learning plan was developed that consisted of a circle time for the children to share their opinions with each other in the process of appreciating the results created by the children and presenting their thoughts. As the educational effectiveness of early childhood cultural arts education is best developed in the early childhood period, when learning is emphasized by children exploring according to their interests, this study presented a learning guidance plan that reflects various educational methods and genre convergence education that can be applied to early childhood cultural arts education.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.13 no.1
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• pp.30-37
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• 2002

The authors reviewed the child and adolescent's traumatic experiences expressed in movies through late 1950s to year 2002. The movies are roughly classified by 3 categories based on the methods that used to express protagonist's experience and to uncover the meaning that is implied, that is, an important motive of growth, a metaphor of socio-political issues, or merely an event to develop a drama. Movie is a product of repetition compulsion and an activity like symbolic play between creator and spectators through screen, which enables a kind of corrective emotional experience. The curative elements in movies were also reviewed. The authors suggest the importance of mutual communications between movie creators and psychiatrists because media images about psychiatric issues can make internal stereotypes in conscious and unconscious mind of spectators.

• Journal of Korea Game Society
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• v.16 no.2
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• pp.75-86
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• 2016

Game studies of theatrical approach explained interactive property of game in humanistic background. Those studies analyze the game, and based on Aristoteles Poetic Attribute. But theatrical approach has a problem by user's unpredictable intervention in narrative (Active narrative). This paper intended to see in the glance of any impact on the Aristotelian model by active narrative. As a result of the active narrative remake the causality between materials of drama. Also, it can be seen to define a kind of the "Improvisation" in theatrical view. But it exposed a essential difference in the form an expression by substance and material of media. It was defined forms of improvisation in the gaming environment which are 'Self-generated Individuality', 'Self-definition Faction', 'Eccentric Behavior Contending', 'Trolling' and 'Bug Play'. Finally this paper proposes the characteristics of the improvisation of the game and the direction to be improved game analysis model in humanities through forms of improvisation in game environment.

• Fashion & Textile Research Journal
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• v.14 no.6
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• pp.889-897
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• 2012

This study suggests a direction for stage-costume design by making stage costumes based on amusement, eclecticism, and the masquerade, which are the criteria for approaching stage costume designs according to characteristics of the mask theatre presented by P. G. Bogatyryov. The conclusions of this study are as follows. First, criteria to approach stage costume design for mask theatre can be classified into amusement, eclecticism, and masquerade according to the characteristics of the mask theatre presented by P. G. Bogatyryov. Second, the stage costume of a mongrel dog showed amusement through the expression of the image of therianthropy through the combination of a fur-lined vest and wristlet, Korean traditional trousers with the paw-prints of a dog. Third, eclecticism contains diverse characteristics and escapes from being singularly defined due to the fusion of severally different heterogeneous objects. The stage costume differently used a method of wearing clothing in a different period, of choosing clothing materials, and of expressing color in every character to indicate ambiguity to which the drama points through the integration of various expression elements. Fourth, the masquerade present characters (Taembang, Daejang, and Changseok)who simultaneously play the role of fairies after having changed into a white mask and having worn Korean a traditional overcoat (Durumagi) on the original clothes; the, result is the change of the theatrical structure into another time and space inside the theatrical scene of imagination through a concealment of the original clothing.