• Trans-
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• v.3
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• pp.29-53
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• 2017

The film scholar Vincent Amiel divides into three types of montage through his book The Aesthetics of Montage ; Montage narratif, Montage discursif, and Montage decorrespondances. These three categories are the concept that encompasses the aesthetic class to which most movies belong. Early films pursued the essential and basic functions of editing, which tend to be modified in the direction of enhancing the director's goals over time. In this way, "Expressive Montage" is one of most important concepts of montage, not as a 'methodology' that combines narrative but as a 'purpose'. In the montage stage, the expressive montage work is done through three steps of decision. The process of 'combining' to combine the selected films in a certain order, after the process of 'selection' which selects only necessary parts of the rush film, and 'connection' to determine the scene connection considering the duration of the shot. The connection is the final stage of the montage. There are exceptions, of course. When fiction films of classical narratives use close-ups, or when using models or objects of neutered animals, the film induces the tendency of a "montage decorrespondances" rather than a "montage narratif" or "montage discursif". This study attempts to analyze the tendency of montage of works with 'uncertain connection' through 'collage' used by close-ups and montage decorrespondances as 'fragmentation tendency of modern films'. The fragmentation of the montage in contemporary film breaks the continuous and structural nature of the film, and confuses the narration structure that is visible on the surface of the film. The tendency of the fragmentation of the montage, which started from this close-up, seems to give an answer to the extensibility of the modern image.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.121-129
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• 2009

This research tries to interpret Montage der Assoziation shown in animations. Eisenstein's 'Montage' is "Montage der Assoziation" where a variety of Montage pieces are combined, symbolizing one aggregate image. Though influenced by Russian Formalist Film Theory and Kuleshov, Pudivkin and Rudolf Amheim, by contraries, he recognized Montage as an issue between an artist and the audience and an anti-representation apparatus. Especially, he developed the mind action issue previously advocated by Eikhenbaum and deemed the audience's role an essential part in completing a film. Montage expression implied in Eisenstein's theory can be regarded as attraction, collision, and dynamic and intellectual Montage. However, with an in-depth approach, Montage der Assoziation can be interpreted by repetitive, relative and juxtaposed analysis. The reason is that animation Montage is a visual action which takes place in a row among scenes and in the frame. This research addresses communications with the audience which are attained by Montage der Assoziation. In other words, this research makes an in-depth access to how Montage der Assoziation appears and communicates with the audience in an animation work.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.83-90
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• 2013

This study attempts interpretation of vertical montage expressed in assoziation montage focused on animation, Paprika. Montage has been continuously studied by Pudovkin, Eisenstein, Jacques Aumont and others till now. However, existing studies focused on the visual image of montage. Image is made of visual element and aural element. These two interact with each other and maximize the effect. It is believed that the study subject can be approached in more depth, if aural elements would be analyzed based on the assoziation montage which analyzed visual image in previous studies. Accordingly, this study explores and analyzes how vertical montage has been used in logical montage and optical conflict montage and what meanings they generated. The analysis results suggested followings. In logical montage and optical conflict montage, vertical montage complemented visual image by natural concurrence as a whole. Vertical montage also showed linked relationship, which reflects overall emotion by melodious concurrence. In addition, when there was melodious concurrence at certain time, place or unclear space, the elements showed continuity which made them link with relationship. However, when the role that cuts that continuity, in other words, when the tonal element, which let audience partially immerse, would be properly used when the space and time would change or get reversed, the effect was maximized. It also expressed a turning point of an event and enhanced the concentration of audience on the characters.

• Journal of Korea Multimedia Society
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• v.19 no.7
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• pp.1216-1224
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• 2016

This study analyzed the montage pattern of e-book in a bid to include e-book in the film language system. To this end, this study targeted three pieces of e-books which reproduced the animation for theater use of Disney Company. This study did research on characteristics of montage in films, and kinds of film vectors, and defined it as 'Montage of Experience' according to media characteristics of e-book. This study deducted the montage pattern of 3 sorts of classification, and 10 sorts of detailed classification by doing research on the analysis object. This study has a significance in that it pioneers a new perspective in e-book research which has been biased towards a functional perspective. Analysis of the point of contact where the existing visual media, and new media meet with each other could be a driving force promoting the growth of the relevant industry, and this study thinks that the analysis of the point of contact is the research which is helpful to working out qualitative improvement of e-book contents.

• Journal of Science of Art and Design
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• v.6
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• pp.267-287
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• 2004

The study of a new expression within Korean ink painting that meets the demands of the times has continued, resulting in various expressions with acrylics, handycoat, objects and installations, crossing over from traditional Korean painting techniques. A 'margin' was both a very important space and esthetical matter that expresses 'Ki', 'Distance', and 'Omission' in traditional sense when addressing Korean ink painting Its expression methods and concepts, however, have changed today. A 'margin' through Montage technique can be a significant example in understanding the expression methods of today's Korean ink painting. This is because the margins in Montage make the meaning of the work various and flourished and deeply construct the surface with a double-layered structure, instead of using a single layer. These 'margins' created by Montage are spaces where different images conflict, divide and continue with each other and where a reconciliation between different spaces is accomplished. Furthermore, they establish more vitality and truthfulness to life through both the images conflict and reconciliation. After the adoption of Post-modernism Art in Korean ink painting, the characteristics of the 'margin' in Montage style by the division of surface are an 'acceptant's participatory imaginative space'; where viewers fill the margins with their imaginations ; an 'abandoned space' ; where unnecessary parts are deleted for more live surface ; and a 'strategic space', where the work enriches the structure and contents of surface by using margins strategically.

• Korean Institute of Interior Design Journal
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• v.26 no.1
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• pp.63-74
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• 2017

This study is for the characteristic of expression of exhibition presentation in 'The Korean peninsula' which is the Golden Lion Winner at the Venice Biennale in 2014. The Korean peninsula provides two opposite political and economic systems and adaptations of modernism through various multi media images. The curator, Minsuk Cho, presented cinema montage image of Collision for analyzing dynamic exhibition organization and provides the foundation of his theory from Bergson's image and duration to Deleuze's movement-image and time-image which is mentioned from Deleuze's book "cinema 1" and "cinema 2". Furthermore, the Korean peninsula has showed perception-image and affection-image from Eisenstein & Vertov's cinemathology and systemized exhibition presentation. The montage of Collision has maximized the movement from the variety and complexity in a collision and it made difference between information images which are space, time, emotion, intelligence, the tumult between subjectivity and objectivity, fragments from reorganizing itself, and distribution and art images. The limit of montage of Collision's dialectic is not only visual but also space from organic organization but the Korean peninsula overcomes its limit and shows leap of tactile perception and time-reflection from the montage of Collision's dialectic. Therefore, the exhibition of the Korean peninsula presents the conviction of adaptations of modernism.

• Annals of Clinical Neurophysiology
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• v.12 no.1
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• pp.11-15
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• 2010

Background: In belly-tendon (bipolar) montage, reference (R2) electrode placed on muscle's tendon has traditionally been considered to be electrically inactive. However, recent studies have revealed that R2 electrode is not simply referential, but actively contributes to compound muscle action potential (CMAP) waveform morphology. These findings suggest that CMAP onset latency and amplitude may also be influenced by the position of R2 electrode. This study was performed in order to evaluate the effect of R2 electrode position on CMAP onset latency and amplitude. Methods: We performed motor nerve conduction studies of median, ulnar, tibial and peroneal nerves on bilateral limbs of 20 normal subjects. We used traditional bipolar and monopolar montage and compared their CMAP onset latencies and amplitudes. In bipolar montage, recording (R1) electrode was placed on mid-belly of muscle with R2 electrode on the tendon of the muscle. In monopolar montage, R1 electrode was placed on the same site of bipolar montage, while R2 electrode was placed on the contralateral limb. Results: The mean CMAP onset latencies of median and peroneal nerves in bipolar montage were significantly different (p<0.05) with those in monopolar montage. And those of ulnar and tibial nerves were not significantly different (p>0.05). The mean CMAP amplitudes of all the tested nerves except ulnar nerve were significantly different (p<0.05). Conclusions: This study shows that change in R2 electrode position can affect the CMAP onset latency and amplitude, and these differences seem to be related to the generation of far field potential by CMAP.

• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.21-30
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• 2009

A point of view has been diversified where it has been put. We are living in the era that requests many standpoints to us to understand relations involved with me and my surrounding and it will speed up as the aspect has been changed so far. This phase is not exceptional to the design. Various spaces engaged in us have an immaterial phenomenon as composed by, so it is conceptualized to try the other way differentiated before. On the other hand, we can often meet examples of a literature scenario through conceptualizing an immaterial phenomenon as organized. Because of the difference between an individual's value and environment, it is criticized because of limitation to probe right and wrong of the objective feasibility. However, it is requested that this method needs to have an organized grammar in the interconnection broken of the standard of right and wrong in the science as well as goodness, evil and beauty in the morality. Nowadays a montage, which means the way to create objective by combining different points, is more multifariously applied in the generation of mixture asking various meanings and signifier and it's been widely extended. This study intends to pursue a new methodical approach focused on a characteristic of the montage and puts the goal on deduction for an expressive way of a montage specificity practically indicated at the shopping space through the space translation of the montage conception as well as plot of a movie. In conclusion, this study is how to be expressed of the montage expression method to understand.

• Journal of Science of Art and Design
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• v.5
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• pp.131-158
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• 2003

• Cartoon and Animation Studies
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• s.9
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• pp.199-219
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• 2005

This paper is studying about how things are showed the montage theory and mis-en-scene effect in the screen media, what the concrete project's cases and how those theories have been supported to the animation's effects and its development. Besides, 1 tried to describe the shown things in the animation area, what the montage theory and mis-en-scene effect had been imported and expressed based on the screen studies of representative genre in the visual media. The purpose of this thesis suggests to help the creative animation scenes by liberal understanding and acceptance about the montage theory and mis-en-scene effect for the future animation's progressive aspect. With the improvement, there this thesis's suggestions could help the creative and special effects of animation asa part of Screen Arts, and would be the part of the progressive factors in the animation area.