• 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.

• Cartoon and Animation Studies
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• s.15
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• pp.165-178
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• 2009

Everybody recognizes importance of characters in theater animation that directly influence audiences through narrative structure. However, it is very difficult to make one. This study is about this process that creates characters. This study derived what common points were involved in analysis data of major/supporting characters' formative characteristics in various studies related to animation characters. Then, based on the data, this study analyzed how major/supporting characters were transformed to animation characters in the scenes that were animated at the beginning and end of film that were released in 2007. Finally, this study investigated the process of character creation using portrait based on the analyzed data. Although this study tried to approach to character creation objectively using objective data rather than subjective judgment of the researcher, the researcher recognizes that subjective thoughts could not be completely excluded since it is done by man's hands. However, this author sincerely hopes that this research can be a great help in producing animation characters through understanding form factors of images that makes character for short film producers who suffered from slow work process due to difficulty in creating characters or authors who failed to complete satisfactory work as they could not find slight difference in character modification.

• The Journal of the Korea Contents Association
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• v.16 no.8
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• pp.484-492
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• 2016

Role of music in an image can be divided into a supplementary function to express narrative of image and an independent function to become the subject of music and to lead the image. To perceive sound through hearing and then, to make it visualized is called visual music. Since the 19th century, image synchronization of music through colored hearing has been continuously attempted by artists in their works. Also in the 20th century, many artists could attempt time-wise concept of movement passing the bounds of three-dimensional expression due to development of cinema. In such a process, artists with strong experimental spirits inferred correlation between sound and image and then, pioneered new genre of visual music. As a result, the times are being changed from those of listening to those of watching, and various works are being produced by experimental attempt of various music and images. This thesis aims to investigate aesthetic characteristics of modern visual music and then, to conduct comparative analysis on how visual music using colors are utilized in diversified fields such as movie, animation, music video and media art.

• The Journal of the Korea Contents Association
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• v.12 no.3
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• pp.123-138
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• 2012

The purpose of this study is to identify how tales are accepted and embodied as a new work in dance as performing arts, which are getting attention for its rapid growth in the area of cultural industries. Major performances of recently created and performed ancient tales including Baridaegi, Chun-Hyang story, Yeonohrangseohnye are analyzed here. With acceptance of tales into dance, vitality of creation by the eternal word of mouth, rich information contained in each tale and the variety of interpretation showed the possibility of a new interpretation based on the existing perspectives. There are three kinds of acceptances: diversification of narrative techniques of the subject, adoption of the issue of moral values as a topic, and acceptance of tradition and national consciousness. To satisfy the fundamental concern about the universe and human, and to create both worldwide and Korean dance contents, the images of tales are being reinterpreted into a new dimension beyond the boundary of time.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.156-169
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• 2015

The negative awareness of a multiculturalism rises around the world because of various problems that happen with the multicultural phenomenon. Nevertheless, the reason we uphold multiculturalism is that multicultural phenomenon is an inevitable consequence of capitalism and the decline of multiculturalism might imply danger of bringing about radical nationalism. This study assumes that a distortion of multiculturalism is the result from a myth of romance film which affects the public perception as an integral component of a discourse. Grounded upon monomith, the narrative structure of romance film of which motive comes from courtly love makes people miscomprehend the value of multiculturalism because of the multicultural factor as substitute for romantic obstacle. As the character of romance movie is likely to be formed focusing on superficial images and denotations, this tendency causes the hierarchy and the representative minority drives out the rest of other minorities. The attempt to arouse people's tolerance and understanding of the other is frustrated both by the structure of binary oppositions and the clich$\acute{e}$.

• The Journal of the Korea Contents Association
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• v.18 no.8
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• pp.82-91
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• 2018

This paper examines the sound of Godard's <$Pr{\acute{e}}nom$ Carmen> from Deleuze's film aesthetics and Merleau-Ponty's phenomenological point of view. The rehearsal scene of a string quartet is a mirror-image that illuminates the music itself, and becomes a crystal-image with the indiscernibility of the present and the past in the break with the main narrative. On the other hand, urban noise and waves are the seeds composed of pure optical (sound) images and grow into pure sound crystals that collide with what is seen through the juxtaposition, substitution, and intentional connection of sound. However, these sound contradictions also lead to the integrated sound category as a 'sole movement' through Merleau-Ponty's dialectical thought, and even the dialectical sound management of pop and classical music is no longer a confrontation of the genre, but is integrated into the materialistic category of sound. This study is differentiated from the existing research by solving the sound aesthetics of the Godard's film through philosophical thought.

• The Journal of the Korea Contents Association
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• v.14 no.3
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• pp.80-93
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• 2014

This paper examines how split-screen technique works to meet the goals and strategies of the narrative in the romantic comedy films which deal with love and sex. The plot of romantic comedy films aims to the union and marriage of the couple, but is structured to delay the union as much as possible through comical situations and episodes. Usually split-screen scenes are placed before plot point 2 and serve to make a laugh and humor. Besides, it helps focusing on two main characters. Comedy related to love and sex comes from information gap between two main characters which can cause a tension, double meaning of spoken words and combination of split-screen images. Michael Gordon's Pillow Talk(1959) and Peyton Reed's Down with Love(2003) are reviewed in this study.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.31-37
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• 2020

This study examines the way poetry text is inserted in dramas and the way poets represent themselves through the drama "The climax" (2011). The drama features Lee Yuk-sa, a poet and independence activist, as a central figure and chooses a narrative structure that follows his life. The drama maximizes the lyricity and visual beauty of the drama by inserting his poems with fantastic images at the most dramatic moments of the poet's life. The image presented with the poem maximizes Lee Yuk-sa's intense hardship, while portraying the poem as a crystal of this hardship. Thus, the drama "The climax" uses Lee Yuk-sa's poetry to visualize the inner world of the central character Lee Yuk-sa. Lee Yuk-sa's poems are used in conjunction with his image to simultaneously represent the beauty of poetry and the upright spirit of the poet. This is the result of a balanced portrayal of Yi Yuk-sa, a poet and independence activist, as an intellectual who acts. The drama "The climax" is the main text that sincerely performed the representations of poems and poets through video.

• Cross-Cultural Studies
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• v.21
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• pp.113-138
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• 2010

This writing verifies ideology producing unethical stratification or discrimination targeting on Grandeur's TV commercial after 2008. And attempts to point out the utopia desired by those commercials reproduces distorted ideology at Korean society. To achieve this, the analysis model was postulated utilizing narratology and semiotics system in application of methodology. The result of discussion, is that the 2008 'Grandeur New Luxury' commercial can have utilized the inflected patriotism and sexual fantasies as the core strategy of storytelling. The fact trebly othering women's body from the point of view of gender ethics can be pointed out as the biggest problem in this commercial. 2009 'Grandeur New Luxury' frankly stimulates costumer's desire of stratum rise and possessiveness, circulating the logic 'owning a vehicle' is a proof of their existence. Also considering the meaning woman narration takes up in corresponding commercial, criticism utilizing feminine signifier as a tool to reinforce male success legend was available. Finally 2010 'The Luxury Grandeur' commercial was able to make a judgement using the mechanism of present consumption culture cleverly which Baudrilliard and Althusser has critically recognized. Because commercial images precisely utilizes the mistake called the 'phantasme-$m{\acute{e}}connaissance$' or the 'reconnaissance-$m{\acute{e}}connaissance$' that consumers easily make. Reminding TV commercials exerts control power against unspecified many sitting in front of the TV, continuous studies with same interest are needed in the future. This writing will be able to have a meaning as attempting narratological methodology for analyzing the storytelling of car TV commercials. But systemizing the criticism about the commercial as a single narrative with going through theoretical supplementation is being respected in the future.

• Journal of People, Plants, and Environment
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• v.24 no.1
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• pp.1-16
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• 2021

Background and objective: People-nature experiences, which suggest that humans seek connections between nature and other forms of life, were presented by biologist E. O. Wilson in 1984. Biophilic design attributes support environments that can improve human connections to nature. A significant amount of literature on environmental psychology provides empirical evidence that nature benefits humans, and that practical landscape and built environments can be designed to link humans and nature (e.g., the 14 biophilic design patterns). To date, however, there has been no well-done research on reviewing the health benefits of biophilic design. Methods: The paper provides a narrative review on biophilic design and human health. The scope of this article is limited to biophilic-design books and peer-review articles related to "biophilic design," "evidence-based," "benefits," "health," rather than an attempt to identify universal issues with biophilia hypothesis. Results: A total of 45 papers were included in our review, which was related to the top five biophilic design patterns and design: the presence of natural images, the presence of plants, visual and non-visual connections to nature, and material connection with nature. These studies were related to physiology and psychology through direct or indirect connections with nature and experiences in space and place. Conclusion: This study presents two important comparisons of the empirical research on biophilic design and human health that can explain the relationship of people-nature experiences to biophilic design and human health and provides insights into related researches and recommendations for future application of our findings.