• Journal of Digital Convergence
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• v.15 no.8
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• pp.401-407
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• 2017

The movie content, which is more firmly established as the best popular art, is the main entertainment content that reflects the current trend based on the most common contents and consensus on the culture of the global community. However, since modern films are more sensitive to popular tastes that appeal to amusement and stimulating emotions, reduction of opportunities for intellectual pleasure through appreciation of artistic expressions is inevitable and unavoidable. In this paper, however, we try to analyze the symbolic meaning of the short in the film, to grasp the inner nature of the film projected in the film, and ultimately to express the theme message. Effective symbolism exposes emotions to create moods and moods, and to express deeply with the audience, expressing the inner psychological state and will of the person. By conveying the meaning behind the surface image to the audience unconsciously, it is possible to transmit the message intentionally more effectively and strongly. In addition, it can be expected to create effects such as an associative action or an increase in contrast energy on the screen through collision of irony and image in the expectant emotion composition of the audience.

• Cross-Cultural Studies
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• v.34
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• pp.7-41
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• 2014

This article examines magical realism in contemporary european film, which is considered to be one of the most popular styles in the present culture, with regards to Antonio Negri's theory of art. Magical realism is "alternative approach to reality" (Maggie Ann Bowers, Magic(al) Realism) and defined as "a fictional technique that combines fantasy with raw physical reality or social reality in a search for truth beyond that available from the surface of everyday life" (Joan Mellen, Magic Realism). The term of Magic Realism was coined in 1923 by Franz Roh, German art historian, as the concept for the post-expressionist painting in Germany. It has flourished in the Latin-American literature during the 1950s to 1980s and spread worldwide. Since 1980s magical realism is considered to be a universal artistic mode. Since 1990s magical realism is to find in the various novels, and since 2000 one encounters magical realism in the cinema very often. Antonio Negri writes about the relationship between life, imagination, art and the political in his book Art et Multitude. According to Negri, the hard life of people in the present society liberates the imagination and this creates the art as "the excess of the existence". In this process the aesthetic becomes to the political. Negri calls this space of art as "magical time and space". Claire Denis' film Vendredi Soir is analyzed as a contemporary magic realist text, which realizes Negri's concept of art: vendredi soir (friday night) in Vendredi Soir is the magical time, when the impossible becomes the possible, and paris in the public transportation strike is the magical space, where the individuals meet the other in a new situation. The film analysis associates itself with Negri's theory of art: in Vendredi Soir, it is to see, that the excess of the existence liberates imagination and creates the magic reality both in the movements of things and the human relationship. The phenomenon of magical realism in contemporary culture can be understood as the symptom of the emotional and existential pains of contemporary people in the current world. The contemporaneity of the magical realism can be read in the film as "the metaphor for contemporary thought" (Alain Badiou, Cinema). As Antonio Negri writes, art can become "the aesthetic redemption" (Negri, Art et Multitude) for us. At the same time "(t)his is where aesthetics can be transformed into the political." (Lee, "Communism and the Void")

• Journal of Digital Convergence
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• v.19 no.5
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• pp.375-381
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• 2021

This study aimed to examine the dilemma of rural China under rapid urbanization process after economic reform, by paying attention to the problem of the order of village community and the expression of individual desires depicted in the film with a rural background. To this end, the narrative analysis, which is suitable for exploring the story structure and expression style of the text, was conducted to examine the community order and ethics, patriarchy and paternity, and the expression of desires of subject. In the film, closed space and villagers, who are disciplined by community customs, local culture, and formality of the rule of manners, are depicted. The film is covered in a form of mystery movie dealing with the deaths of members of the village community. However, the film talks about the rise of the Imaginary desire of subject against the symbolic rules of community order and ethics through the puzzle pieces story according to the perspectives of the characters. In conclusion, through the narrative analysis, it was possible to examine the implications of weakened communal discipline and paternity of the countryside by the rapid urbanization of China, and implications of the lethargy and neurosis of the subjects.

• Journal of Sensor Science and Technology
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• v.25 no.6
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• pp.412-417
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• 2016

Scent display is used mainly to augment immersion, reality and emotion, besides provide more tension and suggestion. However, this paper pay attention to effect of smells as ambient media, and propose a notification service using scents without sound and vibration when a user has new mail, test message and phone call. And we designed a scent service platform and API function for easy application of scent notification service. We demonstrated feasibility by experiment using smart phone and self-producted scent device.

• Journal of Industrial and Engineering Chemistry
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• v.68
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• pp.393-398
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• 2018

This work offers a promising approach for development of a temperature-responsive colorimetric display platform. For this purpose, uniform thermochromic microcapsules consisting of a cholesteric liquid crystal (CLC) core and a thin polyurethane shell layer were fabricated by conducting in-situ condensation polymerization at the interface of monodisperse CLC-in-water emulsion drops. Colloidal packing-driven microcapsule registry led to exact 2-dimensional positioning of CLC microcapsules into a holes-patterned flexible film stencil. Furthermore, we showed that the designated registry of different color types of CLC microcapsules on the stencil enabled development of a microwriting display technology capable of reversible text representation according to temperature change.

• Journal of Fashion Business
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• v.26 no.6
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• pp.1-13
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• 2022

The purpose of this study was to find out the type of fashion codes hip-hop fashion has in contemporary Chinese fashion, and the frequency and characteristics of each fashion code. Text mining, which is the most basic analysis method in big data analyticswas used rather than traditional design element analysis. Specific results were as follows. First, hip-hop initially entered China in the late 1970s. The most historical turning point was the American film "Breakin". Second, frequency and word cloud analysis results showed that the "national tide" fashion code was the most notable code. Third, through word embedding analysis, fashion codes were divided into types of "original hip-hop codes", "trendy hip-hop codes", and "hip-hop codes grafted with traditional Chinese culture".

• Journal of the Korea Academia-Industrial cooperation Society
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• v.18 no.6
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• pp.662-672
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• 2017

Child sexual crimes have increased, but there has been no effective plan to combat this. Films reporting problems, amplify the attentions and propose countermeasures, which leads to changes. The current study examined the audiences' reactions to child sexual crime faction films using text-mining. The analysis of Naver's 2,727 blogs showed realistic words while 3,000 review comments' analysis demonstrated emotional responses. The positive and negative emotional category and degree were also different. In , the higher degree of negative emotions, such as 'angry' and 'unpleasant' appeared frequently. In , only negative emotional worlds were used. On the other hand, 'sad' was the highest ranked word, and the negative level was weak. In , 'good' a positive emotional word solely emerged. The audiences perceived the accidents objectively before release while they expressed their emotions and feelings after watching the movies. caused explosive anger and organized the participating citizens for changes. This movie provided an opportunity to enforce a legislative bill intensifying heavy punishments. The present study is significant in scrutinizing the audiences' diverse emotional reactions and discusses the future direction of society prosecution movies. Based on the text analysis of the audiences' linguistic expressions, a future study will be needed to hierarchically classify the diverse emotional expressions.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.

• Journal of Korea Entertainment Industry Association
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• v.14 no.1
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• pp.75-89
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• 2020

As Marvel Cinematic Universe (MCU) Phase 3 concluded in 2019, it is time to systematically analyze the phenomenal storytelling of the franchise. In order to identify the structure of the continuous stories focusing on 'Iron Man', the central character of MCU Phase 1-3, this study used the "Save the Cat (STC)" paradigm as the tool for narrative analysis. The eight films with 1,066 minute-run time in total was analyzed based on the 15-beat STC paradigm by adjusting the distance ratio between each beat of its prototype originally based on standard films of 110 minute-run time. The results reveal that all 15 beats of the combined texts were fairly properly discovered in the positions suggested by the adjusted STC paradigm. Moreover, through the investigation, the vast text was able to be analyzed in a more comprehensive manner in the process of reconfirming the meaning of the dramatic reversals corresponding to each beat against the entire narrative. As expected, the STC paradigm proved to be a meaningful signpost for plot drives even for such a vast text. Therefore, it is believed that application of this paradigm would help not only analyze but also design other serialized franchises as well. Prior to that, however, it would be necessary to further examine the combined texts for other major characters in MCU or other franchises designed in a similar form to MCU movies through the same paradigm to verify effectiveness of such application.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.397-428
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• 2019

Fantasy emerges from the cracks and crevices of rational reality. Italo Calvino says, "Fantasy is possible when the reader stays at a certain distance without falling into the text." Fantasy does not form farthest from reality. It comes from the confusion between reality and fiction. In short, fantasy does not exist on the contrary of reality, but on the boundary of reality. Reality and fantasy are also structurally intertwined. We can't distinguish the reality from fantasy clearly. In fact, in this case, the reader or audience is confused about whether what I see is real or not. Todorov calls this case "hesitation." Hesitation is a key element of fantasy. Two texts that expressed "hesitation" are Kim Young-ha's short novel Vampire (1997) and Wes Anderson's film The Grand Budapest Hotel (2014). On the surface, these two texts seem to have nothing to do with narrative structural similarities. And both also arouse readers' and audiences' interest by letting confuse reality to fantasy. In Kim Young-ha's Vampire, we can look at the process of confusion of reality called "narrative infection" when a text is read to the reader. In the movie The Grand Budapest Hotel, we can find a strategy to make an unreal story feel like a fact in history. And we can also find a process in which the success stories of alienated characters become reality through 'solidarity' in the film. This paper is a study of how fantasy creates "reality", makes readers feel fantasy, and how it spreads through these two texts.