• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.131-140
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• 2020

This article attempted to apply the methodology of film acting as a performance oriented towards socio-cultural meaning to Min-sik Choi's acting. Specifically, the relationship between the body, the face, the audio, the direction and the attitude toward film technology mentioned in the interview dictation of actor Choi Min-sik was analyzed. In conclusion, Min-sik Choi's acting cannot be defined only by method acting, but implies or integrates the typical or avant-garde acting theories such as Stanislavsky, Strasberg, Mayerhold, Brecht and Grotovski. Above all, it is the presentation that expresses the flow of life through movement suggested by S. Kracauer. The feeling of compassion that Choi Min-sik himself emphasizes is in contact with the essence of the film that reproduces the flow of life, and it expands to an intended screen performance with a certain purpose. The screen performance that can be compressed with compassion and the flow of life is expressed by Min-sik Choi's various personas. His persona, transcending good and evil, reflects the present of Korean society.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.41-50
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• 2020

Acting is an act of expressing personality, image, sound, tempo, and movement flexibility in order to effectively express fictional characters in the play. It is said to refer to the action or mood of the person performing the character. In addition, all these acts are important elements of the media that the director wants to convey the subject of the work to the audience. In particular, the actor relies on the ambience, image and passionate role of winning and losing in theatrical film. In addition, more than 60% of the afterimages or remaining images in the film are images of the actor's acting or movement, and the trend of the actor. This study is not about acting divided by Conti, who is under the control of directors and directors. The purpose of this study is to analyze the aesthetic response and analyze the inner half of the suspense in the act and to help influence the expression that is effective in expressing the play.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.157-167
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• 2019

The actor Song Gang Ho who appeared in the late 1990s, expanded the personality of his characters on his own way by using his unique characteristics (way of talking and appearance) as a nuance of diverse characters, while playing the wide range of roles from the petite bourgeoisie to kings in various genres. Especially in films such as , which are based on real incidents and real people, Gang Ho Song's character embodies Korean history and cultural identity. Not only his serious, but light and seemingly uncalculated realistic acting style harmonizes with his character and reveals the sense of humanity creating a new genre called "Gang Ho Song's character", but also Gang Ho Song is solidifying his base and range as an actor. Therefore, this research aims to analyze his character and acting through the film while concentrating on his realistic expression and creativity based on Barry King's concept of authorship. First, the research will analyze the features of the historical and cultural identity of Song Gang Ho's character which reenacts the real people and incidents as well as analyzing his realistic acting and improvisation of his acting which adds vibrancy to his character. While looking at Song Gang Ho's acting as a self-reflective acting, he enhances the character's reality by creating the character's personality using his own physical features and this research will analyze how Song Gang Ho's self-reflectiveness harmonizes with the character's features which are expressed realistically in the film and how his character and acting creates a continuum.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.89-98
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• 2019

Performing arts, for instance, theatre and dance that perform on the stage, should recognize the contemporary characters and also emphasize the trend of the times. Thus, the subject of those varies and provides the audience diversity contents and style. People who perform those try to put the contemporary characteristic and sociality into their stage by utilizing new technology for their stage to be more sophisticated in aesthetic and philosophic aspects. According to the trend of the times, science and technology have been making great progress. As a result, the stage technology continues to develop, contributing to enhance the aesthetic and philosophical completeness of the performing arts. Also, there are technical and formal researches or methods constantly that make the performing arts new and diverse. Therefore, it can be said that it is very important to widen a category of the performing arts that amplify the actor's acting and emotions on the stage and then give the audience an experience. This paper will analyze in the way which various image techniques utilize to widen the actor's technique in the performing arts and the actor's technique progresses in the era called the Fourth Industrial Revolution era that grafts the art onto new media. Through this paper, in the era of the Fourth Industrial Revolution, a new paradigm in actor's acting which is becoming a hot topic in performing arts is predicted and anticipated.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.165-172
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• 2019

Signs of the street and scenes of the nature(tree) popping up like a still screen in a monotonously repeated routine, as if waiting for something by chance, characters appearing and disappearing without special meaning, advise you to get away from cliché meetings and breakups while repeating it. The images of people returning to their places without presenting any conclusions highlights the coincidences and unexpectedness of everyday life, but are so familiar that it is easy to be overlooked, it brings us to experience the potential of everyday unfamiliarity in such moments. The actor's performance, which deviates from the practice of well-organized characters, is improvised (unplanned and uncoordinated) emphasized on the scene and expresses the everyday nature of his differentiated character freely like the reality as if he were locked up in a film structure but not confined to it, and as if he got used to the everyday life. Also the repeated words and actions of characters, and unpredictable changes of emotions, centered by the encounters and conversations of this film of Hong Sang-soo, everything that is presented in the background of everyday life in its form, let's us pay attention to the meaning and what to be found in the film. In addition, director Hong Sang-soo, who creates a story after selecting actors to reproduce this daily process in a realistic manner, sets new relationships between the characters and the actors, presenting a new method of realistic expression, through the actor who repeatedly appears in the film. This study analyzes the everyday characters and acting of the film based on director Hong Sang-soo's directing style.

• Journal of Korea Entertainment Industry Association
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• v.14 no.6
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• pp.43-52
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• 2020

This paper is a study of Gustav Deutsch's film (2013). The film transformed the painting of Edward Hopper into an homage film. So it gives the impression that the picture is moving. In this regard, it raises the issue of 'remediation' between film and pictures. In this study, We ask how (2013) dealt with the movement in turning Hopper's paintings into movies. To that end, To this end, we look at two aspects of movement: the actor's movement and the screen's movement. The concepts of "tableau vivant," Agamben's gesture and mediation were used in the process. The actor's movement in the film is not an act of making and developing events. It is a gesture that moves a person's body and expression itself. It is not a story-oriented acting, but a gesture that Giorgio Agamben said. Editing and camera movements are used while maintaining frontality. This suggests that the movement of the screen is the eye of the audience. At first glance, it embodies the voyeuristic gaze of the original work. However, But the audience isn't looking at the image unilaterally, as in mainstream fiction films, but they are also being seen by that image. Also, the camera's movement to take a closer look at the details of the screen shows the movement itself rather than the means to reveal the details. The 'vision of reality' in a film is made through movement. The film questions the vision of reality between painting and film, between words and images. The move is a means of mediating reality, but the film is regaining the "lost gesture" that Giorgio Agamben once said by revealing its mediated nature. This tells us that the vision of reality appears when it obscures its mediated nature.

• Cartoon and Animation Studies
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• s.16
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• pp.165-178
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• 2009

It seems like that the main stream of animation for theaters transferred from cells to 30 animations. It can be easily seen if current situation is compared to the time when al! works were Cell animations. Although earlier papers were mostly about studies on Cell animation works, future studies will publish papers related to 30. Accordingly, this study studied the association of the researcher's paper with 30 works while It had been applied to 20. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were reieased in 2007. This result was compared with the character made using a voice actor in the Pixar's long piece of animation for theater that had been already screened. The data were made into values to some extent in an attempt to increase satisfaction in the result of analysis comparing the character with the voice actor. When making characters using actual persons, it is hoped that grasping the modeling factors of the images making 20/30 characters as indicated in this study will be helpful in producing animation characters.

• Journal of the International Relations & Interdisciplinary Education
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• v.2 no.2
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• pp.35-58
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• 2022

Korean movies and TV shows have been widely distributed in the international market and have played an important role in shaping the national image of Korea. In this paper, we found that the factors of "actor's image" and "background music and images" among the popular factors of Korean dramas have a positive influence on shaping the national image of Korea through questionnaires and spss tools. At the same time, the study also hopes to analyze the reasons for the success of Korean film and television productions to explore their useful value for the international communication of Chinese film and television productions.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.18 no.3
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• pp.749-753
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• 2014

The purpose of this study analyzes the basic elements of film acting based on Stanislavsky Circles of Attention. This research also demonstrates the basic elements on how to become a good film actor. I attempt to interpret Stanislavsky Circles of Attention, in order to adapt the size of camera shots and the location of microphones. This Circles of Attention is an effective method utilized for actors to help them understand and be absorbed in the work of art both in film and stage. It is useful for building a character in realism drama as well as in film. I believe Stanislavsky Circles of Attention is certainly the most advanced acting style in film because it proposes the importance of physical action for actors.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.