• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.1279-1286
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• 2009

"Interactivity refers to the possibility of an audience actively participating in the control of an artwork or representation." Andy Cameron, Dissimulations Interaction can be described as a way or function that improves the participation of audiences/viewers to being immersed into the medium itself. Until now, however, in terms of interactive cinema, interaction has not shown a sufficient participation for audiences. Specifically, audiences/viewers described that the structure of storytelling has failed to satisfy their requirements, in order to participate in the structure of storytelling. The aim of the research itself, therefore, began to ask and wonder why audiences/viewers criticised the participation which audiences/viewers are able to control storytelling, in interactive cinema, could not satisfied them in order to control and follow a storyline of interaction. In general idea, in interactive cinema, the function which allows audiences/viewers to be immersed into the storylines, must allow the immediacies of interaction. Audiences/viewers must therefore be able to satisfy the general idea of interactive cinema through controlling the directions of every choice offered. They must also be able to be immersed in the interactive storylines. Which of the prime causes can be improved or re-considered, to satisfy the participation requirements of audiences/viewers? The intention of this research also began to investigate a suitable method of storytelling within a narrative structure of interactive medium (interactive cinema). Through questioning the matter (it will be described in a later chapter), this research will be focused on the relationship between narrative structured interaction and audiences/viewers, which is of prime importance in relation to interaction. To further the research, Pilot study (experiment with the basic interactive narrative structure) was offered in order to understand and maintain a suitable method of storytelling within a narrative structure of interactive cinema and it also was explored to understand how the aim of the research would be maintained for further qualitative research.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• 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.

• The Journal of the Korea Contents Association
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• v.15 no.1
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• pp.114-122
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• 2015

This study has a main purpose on discussing the issue how the construction of film narrative will be changed by audience's desire to intervene into film narrative through the active participation, out of watching a film passively in movie theater. Compared with the collective theatergoing experience in big screen was defined as the past cinematic identity, the absolute value of movie theater fragmented increasingly in the era of media diversification facing with digital media convergence. As this situation can be compared with "the author's death" Roland Barthes predicted on the mono-media of the book, thus, we are to take the time to discuss the new emerging 'movies'. The most important thing in this discussion is the aspect of the transformation of narrative in the future screening. Especially, while 3 act structure and configuration evoking a catharsis in film narrative are elements defining aspect of the past narrative, then, the future narrative in film will change to the structure interacting with audience actively. This paper had a discussion how could be possible the aucience interaction in only movie valuing the passive experientiality uniquely in screening over the other media through investigating the attempts of interactive cinema so far and the possibility of future.

• Korean journal of communication and information
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• v.26
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• pp.7-44
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• 2004

This paper proposed semiotic model to explain representation process of time in cinema. Limitations of cinematic narratology which explain representation process of time in cinema were indicated, then alternative explanations of Deleuzian philosophy of cinema were proposed. After discussion about articulations of cinematic code, Deleuzian concept of movement-image was suggested as semiotic minimal unit of cinema. In cinema, Movement-image is divided two different aspects ; "normal movement-image" and "abnormal movement-image". Therefore, two different semiotic representation process of time was reconstructed in accordance with Peircean semiosis theory. In this two different semiotic process, modern cinema emphasize the direct representation process of time with "abnormal movement-image". As Deleuze indicated, The "time-image" is presented in this semiotic process. The "time-image" makes it possible to consider "time itself" as philosophical fact which is laid between reality and cinema, This semiotic process more emphasizes pure expressionality than representationality. Deleuzian philosophical journey through cinema was started in this point.

• International Journal of Advanced Culture Technology
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• v.7 no.2
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• pp.113-124
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• 2019

Stanley Kubrick's 1968 film titled 2001: A Space Odyssey has generally been considered as a monumental piece of mainstream epic science-fiction. However, this film can be evaluated as having properties of experimental cinema by boldly trying technical innovation and aesthetic experiment in various aspects. From the filmmaker's process to filmic structure, technical innovations, screening method, $mise-en-sc\grave{e}ne$, cinematic style and its (auto-)reflexivity, 2001: A Space Odyssey is highly experimental. We will attempt to separate out aspects of 2001: A Space Odyssey that derive explicitly from traditions in experimental cinema, whether adopting those traditions or innovating within them, by identifying the film's experimental strategies and relating them to other experimental films that came before and after. This will show that the purely formal characteristics of the film's conception carry meanings on their own relating to Kubrick's personal expression, ideas about cinema and philosophy that go beyond the scope of the film's narrative.

• Journal of Information Technology Applications and Management
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• v.30 no.4
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• pp.77-86
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• 2023

This study conducted sentiment analysis on Hong Kong cinema from two distinct eras, pre-2000 and post-2000, examining audience preferences by comparing keywords from movie reviews. Before 2000, positive keywords like 'actors,' 'performance,' and 'atmosphere' revealed the importance of actors' popularity and their performances, while negative keywords such as 'forced' and 'violence' pointed out narrative issues. In contrast, post-2000 cinema emphasized keywords like 'scale,' 'drama,' and 'Yang Yang,' highlighting production scale and engaging narratives as key factors. Negative keywords included 'story,' 'cheesy,' 'acting,' and 'budget,' indicating challenges in storytelling and content quality. Word2Vec analysis further highlighted differences in acting quality and emotional engagement. Pre-2000 cinema focused on 'elegance' and 'excellence' in acting, while post-2000 cinema leaned towards 'tediousness' and 'awkwardness.' In summary, this research underscores the importance of actors, storytelling, and audience empathy in Hong Kong cinema's success. The industry has evolved, with a shift from actors to production quality. These findings have implications for the broader Chinese film industry, emphasizing the need for engaging narratives and quality acting to thrive in evolving cinematic landscapes.

• The Journal of the Korea Contents Association
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• v.22 no.1
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• pp.415-430
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• 2022

The purpose of this study is to explore the Canadian Film Director Sophie Deraspe's . Director Sophie Deraspe adapted a Greek Sophocles's novel to the Film in a modern way. For this study, adopt two research methodologies which are 'Author-structuralism' and 'culture studies', and explore traits of esthetics, narrative, subject and context meaning by analyzing . This study concludes that Firstly director Sophie Deraspe is a 'Quebecious writer-director' who represents cultural identity of contemporary Qubec, Secondly, express immigrants in Qubec using Greek Sophocles's novel tragedy as an allegory in narrative, Thirdly, enhances the dramatic effect in esthetics using virtual mise-en-scene as insert, fantasy, SNS, etc. And lastly, can confirm re-territorializing the cultural identity from the distinct characteristics of regional past tradition to the universal hybridity discours in subject. Therefore, Sophie Deraspe's is a work that symbolizes a new trend of 'New Quebec Cinema' in Canada.

• International Journal of Contents
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• v.16 no.3
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• pp.51-65
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• 2020

Narratives arouse diverse and rich affective responses to recipients, and this is one of the reasons why narratives are universal and popular. Computational studies on narratives have established a formal model or system of the affective response based on the theory in psychology or media research, and have analyzed or generated a narrative that can evoke a specific affective response. In this paper, we propose a new computational model that can detect the affective response expected to appear in the narrative based on the narrative agent's knowledge. First, we designed a narrative representation model that can elaborately express the event structure and the agent's knowledge as well. Additionally, an analysis method was proposed to detect the three affective responses and the related situational information. Then, we validated the model through a case study about an actual movie narrative. Through the case study, we confirmed that the model captures the affective responses of the audience. The proposed model can be effectively used for the narrative analysis and the creation that must consider the affective responses of the recipient.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.125-133
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• 2007

While films today offer spectacle to the viewers due to the advanced technique, the "Modern Cinema"-a term named by Deleuze- offers spectators an opportunity to think about what they observe and to have various filmic experiences through the shifting of time image within the film narrative, which has been rather neglected as it is just a form in the realm of classic narrative. Originally the shifted time image was a result of thinking about the identity of a film. But it has self-reproduced over and over, and now it has turned into one of cliches that narrative films take. In this sense, a Korean Melodrama "Sarang-ni" is discriminated from other films which take twisted time image as a convention. The film "Sarang-ni", instead of adopting established shifted time image, put us to the confused time arrangement and then it amazingly arouses emotional effect which it initially meant to convey. This journal analyzes how the time representation of operates in the film's narration, and consequently how the form affects the storytelling.