• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Korean Educational Research Journal
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• v.37 no.1
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• pp.19-32
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• 2016

The purpose of this article is to review the historical media and reenactment activity which is used in history education. Especially, teachers are very interested in how to develop the interest of the students in class. In this article, we review the characters of the reenactment activity as well as the drama and film. The definition of the reenactment activity is to act like a historical persons. 'Reenactment activity' is not familiar to us in Korea but it is very famous to the students and the teachers who want to re-act the historical life. Reenactment actvitiy is more efficient than movie because doing reenactment is much cheeper than making film.

• International Journal of Contents
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• v.4 no.4
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• pp.24-29
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• 2008

In 1920s, Soviet silent films enjoyed unprecedentedly great prosperity throughout world film history. Particularly, Dziga Vertov could develop 'montage' in collaboration with Sergei Eisenstein and thereby could work as the engines behind development and leap of Soviet films toward 'new concepts' of 'new films' worldwide. However, Vertov's original reputations - the best film theorist and avant-gardist as well as great cineaste in his contemporary age - have been misunderstood or underestimated, so that he has been still misestimated or distorted as radical formalist and documentary propagandist. In regard to these points, this study aims to take Gilles Deleuze's modal esthetic approaches to further considering and historically re-highlighting D. Vertov's film theories that are based on the principle of 'film-reality' and the concept of 'Life As It Is' according to 'kino-eye' method and 'interval' theory as a part of futurism and constructivism breaking down any attribute of traditional narrative films.

• Journal of Korea Multimedia Society
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• v.25 no.6
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• pp.866-877
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• 2022

With respect to the advent of realistic media, the so-called future cinema theory or the theory of the end of cinema that cinema will be transformed by the advent of realistic media, or that realistic media will expel film media and replace them are being put forward as if they were orthodoxy. Therefore, this paper argues that the future cinematic theory and the theory of the end of cinema the cinema are inferred from the false premise that the superiority and inferiority relationship and substitute relationship established only between video media of the same type with the same properties are also established even between realistic media and film media, which have different properties. And it is concluded that realistic media and film media will coexist because they have different properties, functions, uses, and utilities.

• Tribology and Lubricants
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• v.25 no.2
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• pp.86-95
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• 2009

Adhesion tests were carried out in order to investigate the effect of temperature on the adhesion behavior between a PMMA film and a fused silica lens in the micro scale. For the tests, a microtribometer system was specially designed and constructed. The pull-off forces on the PMMA film were measured under atmospheric condition as the temperature of the PMMA film was increased from 300 K to 443 K and decreased to 300 K. The contact area between the PMMA film and the lens was observed during the test. The adhesion behavior was changed with the change of the PMMA surface state as the temperature increased. In glassy state below 363 K, the pull-off force did not change with the increase of temperature. In rubbery state from 383 K to 413 K, the pull-off force increased greatly as the temperature increased. In addition, the area of contact was enlarged. In viscous state above 423 K, the fingering instability was observed in the area of contact when the PMMA film contacted with the lens. It was also found that the adhesion behavior can be varied with the thermal history of the PMMA film. The residual solvent in the PMMA film could emerge to the PMMA surface due to the heating and reduced the pull-off force.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.2
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• pp.43-52
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• 2021

This case study developed and operated "Fashion & Film" as a fashion-related liberal arts course. The class was designed to include fashion styles exhibitted in films, fashion-related PPL, fashion design through film, fashion images of movie characters, considering gender & color images expressed in movie costumes, and the history of western costumes and asian folk costumes in films. The class was counducted through various teaching methods, such as lectures, student's presentation of movie plots, and team discussions, which created a student-led class. The team presentations at the end of the term were intended to enhance the understanding of fashion through movies. The results of subjective lecture evaluation of "Fashion & Film" showed the most satisfaction with the communication with professor. Students said that it was good to understand fashion through film. They expressed a burden with the team project; however, they were satisfied with the team project outcomes. Students said that PowerPoint was used very effectively. On the other hand, there was an prevelent opinion that the content of PowerPoint and workbook did not match. To address this inconvenience, a textbook called "Fashion in Film" was published and used in the first semester of 2020. The multiple-choice evaluation showed that students were generally satisfied with the "Fashion & Film" class.

• Journal of the Korean Applied Science and Technology
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• v.11 no.2
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• pp.17-38
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• 1994

Oil and fats has been using as the important raw materials in the coating industry from ancient time to date. This article was prepared with the aim of helping to the forward development trend for coating uses of oil and fats, as understand together the history using oil and fats for coatings, composition and classification coatings, types and composition of oil and fats using for coatings nowaday, how to use oil and fats for coating, film for coatings, film forming mechanism.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2018.05a
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• pp.289-290
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• 2018

The purpose of this study is to analyze the emotions of color in Chinese historical film 'Hero'. This study was carried out by questionnaire survey on students and ordinary person of 20 ~ 45 years old Korean-Chinese image content students through sensitive scientific research method. It was evaluated on the color in the background, the lighting of the Chinese historical movie 'Hero'. The results of this study suggest that the color of the film may have an emotional impact on the audience.

• Cross-Cultural Studies
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• v.20
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• pp.323-346
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• 2010

This study reviews critical literatures regarding Asian cinema, focusing on studies of Japanese cinema, to show that Western scholarship on non-Western national cinemas have been divided into two approaches: traditionalism and modernism. It argues that such a division is not merely a critical tendency but indicative of the fact that a national cinema is an internally divided construct. To support the point, this study examines Chinese film studies conducted by Chinese film critics and the history of South Korean cinema during the 1970s and 80s. Then, it proposes the hegemony model to theorize the inner structure of national cinema. It finally suggests the possibility of comparative film study that the national cinema thesis may activate.