• Cartoon and Animation Studies
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• s.33
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• pp.343-361
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• 2013

This paper derives the mutual relationship between film and installation art through specific case studies about the point of the intersection of the two genres. It needs to find the relationship between art painting and photography and the relationship of silent film and the relevance of the work of art in the 1920s. After painting over the installation exploring the relationship of art and through the mise en scene of the film, ie, the screen image of the configuration and deployment, or cinematic work of art for the film can be found in the application of practices. First, in Chapter 2, this study works of art practices through the analysis of film and the interaction between the two genres based practices for secure sex. In Chapter 3 the movie 'Wonderful Life' and installation art work "hand memory" through the analysis of the two cases specifically for the point of intersection analysis. 'Wonderful Life' and 'hand' Remember each subject and conceptual work in terms of 'memory' that it is represented on similar, but, film and installation art genre caused by the difference in the way the media represented by the results of the different forms of otherwise appear. If so, this study film and installation art practices through the comparison of cases to derive mutual relationship by analyzing two cases in detail what each of the different looks at whether any similarity in that.

• Cartoon and Animation Studies
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• s.27
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• pp.221-247
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• 2012

In this study, we examined the sense of tradition and cultural traditions which make up Japanese ubiquitous society. These include the traditional elements which affect the lives of contemporary Japanese people. In this research we looked for various media (mobile phones, blog, characters goods, cinema) which appeared in the traditional elements. The results of the study are as follows: The traditional elements which affect contemporary Japanese lives include modern devices such as use of anonymous "blogging", mobile phones "youth culture"(especially by males), and "cute" character vocabulary use (especially by females), while traditional values(yakuza, sumo, human relationships) are represented in Japanese cinema. Through this study, we have found the points where traditional Japanese culture and cultural sense have been reinterpreted and affected both directly and indirectly through modern media. This study contributes to cultural research by delineating the various stimuli to consider for successful content service adoption in a global setting, which can account for differential impacts across regions. The results not only help develop a sophisticated understanding of customer behavior theories for researchers, but they also offer useful knowledge to those involved in promoting culture content to potential purchasers.

• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.99-112
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• 2005

Christian Metz, the precursor of cine-semiology, considered cinema as a language in the sense that it is a set of messages grounded in a given matter of expression, and a signifying practice characterized by specific codifications. According to Metz, film forms a structured network produced by the interweaving of cinematic codes, within which cinematic subcodes represent specific usages of the particular code. For Metz, cinematic language is a totality of cinematic codes and subcodes, and history of the cinema is the trace of the competition, incorporations and exclusions of the subcodes. He also suggested a filmic text is not just a list of codes in effect, but a process of constant displacement and deformation of codes. Following Metz' textual analysis methodology, I investigated the formal configuration of Hayao Miyazaki‘s animation, Spirited Away. It is interesting to trace the interweaving of cinematic codes in Spirited Away, i.e. codes of lighting, color, movement, and auteurism, across the animation. I focused on the first scene at the bridge to Yubaba's bathhouse, analyzing each cinematic code and its subcode applied. The first bridge scene is carefully constructed to stand out the confrontation of Chihiro (with Haku) and the bathhouse. The bathhouse is not just a building, it represents the powerful witch, Yubaba, yet to appear on the scene, and functions as an antipode to Chihiro. In each shot, every subcode within the codes of framing, direction, angle, color, lighting and movement is used to maximize the contrast between the dominant bathhouse and the feeble 10-year-old girl. In Spirited Away, the subcodes within each cinematic ode are constantly competing and displacing each other to augment the antithesis between the characters and develop the narrative. As Metz's argument that film constitutes a quasi-linguistic practice as a pluricodic medium, Spirited Away communicates with the spectators with the combination and displacement of these cinematic codes and subcodes.

• Journal of Broadcast Engineering
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• v.9 no.4 s.25
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• pp.391-401
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• 2004

In this paper, we introduce a novel coding method to efficiently enable spatial random access for high resolution video. In terms of resolution and display size, standard display devices (such as cathode-ray tubes. monitors. PDAs, and LCDs) do not sufficiently support high resolution video such as digital cinema and panoramic video. Currently, users have no choice but to view video at lower resolution as a result of down-sampling, or only a partial region of the video due to display size limitations. Our proposed method. which we call the B-map, represents the set of starting locations of the coded segments in a picture frame. This information, or B-map, is first sent to the decoder prior to the coded data stream of the frame and is then used for fast local decoding. To test our method, we compare our B-map with JPEG tiling and the JPEG Resynchronization marker. Experimental results show that the proposed coding method requires less overhead than existing methods during the same decoding time. The results show promise for future panoramic or digital cinema applications.

• The Journal of the Convergence on Culture Technology
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• v.5 no.2
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• pp.59-65
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• 2019

This study examines how cinematic texts are used in movies through Lee Jun-ik's 2015 film, and what narrative and visual effects are obtained through them. This film portrays poet Yun Dong-ju as a central figure and chooses to reconstruct his life. The movie, , used Yun's poetry as a device to maximize the lyricism of the film and to suggest a change in the fate of the character and the inside. In other words, uses Yun Dong-ju's poetry to aesthetically express the inner change of the characters in the film and the sensitivity of the film. Through this, I visualize Yun Dong-ju as poet Yun Dong-ju, a poet who was stuffed in literary books, as a normal literary youth. It is also a reminder of the weight of the reality that the present youth is experiencing and the problem of an individual living in history. In this respect, the movie is a major text that depicts the poetry and poetry of the time, and the age of poet through the media. 'Poetry' as the text of the text delivered with the image maximized the lyricism of the image and led to high aesthetic achievement. Through poetry and poetry, it can be regarded as the main text approaching the problems of history, individual, literature and reality.

• Journal of Popular Narrative
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• v.27 no.3
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• pp.95-124
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• 2021

As the symbolic images of girls besides its definition have varied according to the age and society, a posthuman girl character recently appears in the digital cinema. This study aims to analyze its cinematic representations and the social contexts in which they are created. For this purpose, the study focuses on what extent the society allows its imagined figurations as a future female body and the meanings revolving around the image of 'technologically body-enhanced female fighter'. Current digital visualization technology has developed to the extent any imaged future humans can be represented, but posthuman girls' representations have its limitation that only a human-like figuration can be allowed in accord with the traditionally idolized image of girls. It is because of the representation logic in which digital cinema is visualized based on perceptual realism that values audiences' experiences. Despite such less critical figuration which does not dare to cross the boundary between the image of human and inhuman, the posthuman girl characters create a new category of the 'dangerous girls' who are both void of sexual femininity and independent of motherhood and heterosexual romance narrative. Of course, they support the modern human-centered belief that humans can take entire control of technology with their moral behaviors and dispel the fear about the negative impact the nature of technology may have on society at large by showing their child-like figuration protecting ethical values. However, the new character of 'unruly girl' exerts her subversive act that seeks to fight against the human-centered liberal humanistic values and melancholic feeling and vulnerability that the neoliberalism and technocracy enforce. When posthuman girl characters are considered to be a marker through which we can see how different social forces are intervening and competing each other in the upcoming posthuman age, the limited figuration of the posthuman girl characters in South Korean movies illustrates the opinionated thoughts toward the instrumentalism in technology but their bloodshed struggles reveal how the corporate or state-governed techno-biopower has oppressively treated and appropriated the human body as the technology-object and also provide a meaningful opportunity to rethink its unethical violence.

• International Journal of Contents
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• v.9 no.1
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• pp.90-97
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• 2013

The L.A. riots, which happened during three days from April 29 to May 1, 1992, are viewed as the most deadly and destructive riots in American history. Depicted in blaring front-page headlines and violent pictures on television, this urban upheaval received epic exposure in many countries. In Korea, it was especially shocking due to the viewpoint that highlighted the conflict between Korean and African Americans. This paper aims to review the black-Korean conflict during the 1992 L.A. riots in a Korean movie, Western Avenue. It is a film that narrates the despair of Korean Americans in the context of the L.A. riots, while placing American ideologies on trial. It is the only feature-length film to portray the story of Korean Americans in the L.A. riots. This paper examines some of the factors that resulted from the 1992 L.A. riots before the discussion of Western Avenue. Then, the paper analyzes the story of the Korean American in the film, focusing on how this film deals with the black-Korean conflict during the 1992 L.A. riots.

• Korean Journal of Health Education and Promotion
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• v.31 no.2
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• pp.27-40
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• 2014

Objectives: While cinema is regarded in the contemporary popular leisure activities, the presentation smoking scenes in films has not been fully studied. We investigated Korean box-office hit movies by using content analysis. Methods: We sampled fifty-one hit films played in Korean cinemas during the period 2000-2013. Here, a hit film is defined as a movie viewed by at least 5,000,000 audiences. Results: We found that 78.1% of the Korean hit films contained smoking scenes, whereas only 15.6% of the American hit films were so. Films with the more frequent number of smoking scenes could be lined up in the order of crime, thriller, and action genres (p<.05). Smoking actors were leading roles, hence attractive characters appealing to the audience. Moreover, the smoking rate of female characters in the films was determined to be 3.66 times greater than the actual smoking rate of females in reality. Conclusions: Smoking scenes are likely to affect the audiences' cognitive priming and/or social learning with respect to smoking. Therefore, it would be necessary to set a restriction standard to the frequency of smoking scenes to appear Korean films, and to consider it as an important factor in the assigning a screening grade to such films.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.328-338
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• 2013

This study aims at exploring the characteristics of interior design of the Cruise line running Korea, Japan and China, and the satisfaction level of the Korean passengers for the interior design. Literature review and the physical traces of the cruise ship interior including 4 types of cabins and public spaces such as main hall, restaurants, outdoor swimming pool, jogging track, theater, meeting room, duty-free shop were performed. Also, the questionnaire to the passengers were used to understand their preferences and satisfaction level for each space. The results show that the passengers are very satisfied with the color and atmosphere of the cabin, while they complain the inconvenience of the bathroom size. Also in the public space, they prefer western classic style and modern style rather than Asian or Korean style. This means that they want the exotic feeling coming out of home. Also they prefer buffet restaurant, duty-free shop, theater, observation platform compared to other public spaces. However, the problem is that there are no place for the Korean family members with young children except for the outdoor pool. The interior and the program should be redesigned for the public spacs such as cinema room, family karaoke and internet-free room for Korean passengers.

• Journal of information and communication convergence engineering
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• v.15 no.4
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• pp.217-226
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• 2017

Korea has the tenth largest film industry in the world; however, detailed analyses using the factors contributing to successful film commercialization have not been approached. Using big data, this paper analyzed both internal and external factors (including genre, release date, rating, and number of screenings) that contributed to the commercial success of Korea's top 10 ranking films in 2011-2015. The authors developed a WebCrawler to collect text data about each movie, implemented a Hadoop system for data storage, and classified the data using Map Reduce method. The results showed that the characteristic of "release date," followed closely by "rating" and "genre" were the most influential factors of success in the Korean film industry. The analysis in this study is considered groundwork for the development of software that can predict box-office performance.