• Journal of Multimedia Information System
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• v.8 no.3
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• pp.167-174
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• 2021

This paper compares VR cinema with interactive cinema from an interactive perspective to examine cinemas as a new medium. Rather than revealing the difference through this, the focus is on presenting a methodology that understands the cinema in a new environment that is now standing at the starting point. The development of video technology is changing not only the external elements of content but also the internal storytelling method, but the lack of killer content has always been pointed out as a problem compared to the remarkable development of technology. Therefore, it is necessary to specify the characteristics and types of interactions represented by VR (virtual reality) and new media represented by interactive media and to present directions. Therefore, the types and characteristics of interactions were compared with VR film produced in line with the new phenomenon and interactive film . Through this, we would like to present the meaning and value of the new film format from a media perspective.

• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.

• Cartoon and Animation Studies
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• s.32
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• pp.315-333
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• 2013

This study aims to investigate that today's Mixed Reality Technology did not appear suddenly but has its beginnings in 20th century Visual and Interactive Art. First, Photographic Art expressed three-D on the two-dimensional plane and mixed images of reality and virtuality. Photogram made people experience both two-dimensional images and three-dimensional effects concurrently, and Photomontage combined various photos and mixed reality and virtuality. Next, Cinema tried to combine virtuality and reality using objets and CG. Early Cinema composed films and real objets. As computer technology developed, Cinema composed objet CG on real images and then tried background CG compositing. Finally, Telepresence Art tried a new possibility of Mixed Reality breaking the boundary between reality and virtuality, subject and object. It oscillates between virtual space in reality and real space in virtuality, or represents Mixed Reality by remote control of long distance participants. In the future, for the development and direction of Mixed Reality, there will be more need of referring to Visual and Interactive Art.

• Journal of Digital Contents Society
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• v.18 no.2
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• pp.275-282
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• 2017

With the development of digital technology, a cinematic content has been changed into various forms. Web and mobile platforms bring new forms of cinematic contents. However despite of fast growing of VR(Virtual Reality) technology, they haven't applied to cinematic contents yet. This research focused on the esthetical use of rotoscoping technique for the Virtual Reality Cinema based on the (HMD) Head Mounted Display. First, we look though on VR films 'Notes on Blindness' and 'Pearl' to find how these films express esthetical virtual space. Through this, we found out graphical space provide new esthetical experience to viewers in virtual space. Also, we analyze fantastical usages and successful cases of rotoscoping technique with the 'Waking Life' and 'Scanner Darkly' that utilize rotoscoping technique to live action image. Lastly, we utilize rotoscoping technique esthetically to the VR film 'Girl on a swing' to fulfill the viewers experience and desire.

• 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.

• International journal of advanced smart convergence
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• v.11 no.2
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• pp.71-76
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• 2022

The continuous development of virtual reality technology in the last five years has brought about a big change in the future film industry. Interactive VR movies using virtual reality technology in movies showed the result of increasing the immersion of the audience due to the characteristics of interaction. This will provide a unique opportunity for a new experience of immersion in various forms of cinema in the near future. In this paper, the interaction of narrative VR movies was studied as an example of the movie , which won the [The Best VR Experience Award] at the Venice International Film Festival, In future development, improve the scene transition, Dizziness, Ways of interaction and other questions, let the audience increase the sense of participation, immersion and curiosity when watching movies, and make watching movies a more interesting thing in life.

• Journal of Digital Contents Society
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• v.15 no.3
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• pp.405-412
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• 2014

Computer game addiction generally signifies excessive or unhealthy inclination for computer games. Game addicts spend great amount of their time engrossed in playing games while neglecting the real world. They have the tendency to neglect important responsibilities and isolate themselves from others. Instead, they place greater importance on their status, performance, and achievement in games. Virtual stores, virtual libraries, virtual cinema, virtual trade shows, virtual schools, virtual characters have been emerging due to the popularity of the internet. An ambiguous term virtual reality has appeared in addition to the word virtual. There also appeared alien and UFO syndrome. Such social phenomenon has brought about confusion of reality and virtual world in which things that do not exist are mistakenly believed to exist. This study focuses on virtual reality games and provides an assessment of the causes and the side effects of game addiction and proposes countermeasures.

• Trans-
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• v.10
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• pp.1-13
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• 2021

If virtual reality is well known through the medias, it seems that a few visual concepts are clearly related to VR. We try to think about it and introduce to a philosophy of VR techniques. So, from techniques and media techno-powers promotional campaigns, we aim to areal technology, it means an objective reflection on the VR techniques. To do so, we study the representations of VR in films. And we conclude that a negative image is the most common representation, related, often, to an Orwellian vision of the future world. In the second part, we study some VR films, and especially some made by famous film directors (Iñárritu, Bigelow). 'Head-turn' and 'Walk-around' films are commented to check their limits. Finally, we consider that for the moment, VR remains only a new space to screen films (into VR platforms connected to the Internet).

• Proceedings of the Korean Society of Computer Information Conference
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• 2015.07a
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• pp.33-34
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• 2015

본 논문에서는 영화관을 중심으로 위급상황 발생 시 이를 대처할 수 있는 능력을 게임을 이용하여 체험하는 것을 목표로 한다. 특히 화재 등의 재난이 일어났을 때에 영화관 이용자들의 피난을 신속하고 용이하게 이루어 질 수 있도록 미리 간접적으로 경험하고 실제 상황으로 접하더라도 당황하지 않고 질서를 유지하며 알맞은 비상 통로로 이동할 수 있는 토대를 마련한다.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.