• Cartoon and Animation Studies
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• s.49
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• pp.697-712
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• 2017

In recent years, film and animation for cinematic release have embraced stereoscopic vision and the three-dimensional depth it creates for the viewer. The maturation of consumer-level virtual reality (VR) technology simultaneously spurred a wave of media productions set within 3D space, ranging from computer games to pornographic videos, to Academy Award-nominated animated VR short film Pearl. All of these works rely on stereoscopic fusion through stereopsis, that is, the perception of depth produced by the brain from left and right images with the amount of binocular parallax that corresponds to our eyes. They aim to emulate normal human vision. Within more experimental practices however, a fully rendered 3D space might not always be desirable. In my own abstract animation work, I tend to favour 2D flatness and the relative obfuscation of spatial relations it affords, as this underlines the visual abstraction I am pursuing. Not being able to immediately understand what is in front and what is behind can strengthen the desired effects. In 2015, Jeffrey Shaw challenged me to create a stereoscopic work for Animamix Biennale 2015-16, which he co-curated. This prompted me to question how stereoscopy, rather than hyper-defining space within three dimensions, might itself be used to achieve a confusion of spatial perception. And in turn, how abstract and experimental moving image practices can benefit from stereoscopy to open up new visual and narrative opportunities, if used in ways that break with, or go beyond stereoscopic fusion. Noteworthy works which exemplify a range of non-traditional, expanded approaches to binocular vision will be discussed below, followed by a brief introduction of the stereoscopic animation loop III=III which I created for Animamix Biennale. The techniques employed in these works might serve as a toolkit for artists interested in exploring a more experimental, expanded engagement with stereoscopy.

• Cartoon and Animation Studies
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• s.49
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• pp.677-696
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• 2017

Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to $Vil{\acute{e}}m$ Flusser they aren't. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. With the objective of exploring the role of animation as a design tool, the proposed research intends to develop transmedia creative visual strategies using animation both as narrative and as an user interface.

• Archives of design research
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• v.17 no.1
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• pp.231-240
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• 2004

Space design in the 21st century has been developed in connection with media more various than ever. In the age of image represented by popular culture, space design connected with media is based on post-reason thoughts constituting the post-modern society, and reflects polysemously and pluralistically changes in the society through the identification of art with life. The movie, which is an image perceived particularly sensibly and the most impractical simulated image among various illusionary media images composing the contemporary society, is growing rapidly in interrelation with various fields of art based on its peculiar nature, and its influence is getting more extensive. The movie manipulates mass society to create what does not exist and restore lost images into new realities through the reproduction of extremely realistic senses, and uses them in establishing virtual realities and creating illusionary images representing the age of simularc. The illusionary expression of the movie produces new meanings through disintegrating existing meanings and recombining them, and expresses popular culture from a position closest to our everyday life. Such an analytical attitude toward the illusionary movie reflecting our society can be a new approach to space design. The present study attempts to suggest the possibility of applying such an illusionary characteristic of the movie as a methodology of space design by utilizing the characteristic as a conceptual language of space design.

• Cross-Cultural Studies
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• v.19
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• pp.39-77
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• 2010

The cinema of Peter Greenaway has consistently engaged questions of the relationship between the arts and particularly the relations of image and writing to cinema. When different types of images are correlated and merged with each other on the borders of painting, photography, film, video and computer animation, the interrelationships of the distinct elements cause a shift in the notion of the whole image. This analysis proposes to articulate the complex relationship between the 'interartial' dimension and the 'intermedial' dimension in Peter Greenaway's film, (1991). If the interartiality is interested in the interaction between various arts, including the transition from one to another, the intermediality articulates the same type of relationship between two or more media. The interactional relationship is the same on both sides; on the contrary, the relationship between art and media does not show the same symmetry. All art is based on one or more media - the media is a condition existence of art - but no art can't be reduced to the status of media. This suggests that if the interartiality always involves the intermediality, this proposal may not be reversed. First, we analyse a self-conscious investigation into digital art and technology. Prosospero's Books can be read as a daring visual essay that self-consciously investigates the technical and philosophical functions of letters, books, images, animated paintings, digital arts, and the other magical illusions, which have been modern or will be post-modern media to represent the world. Greenaway uses both conventional film techniques and the resources of high-definition television to layer image upon image, superimposing a second or third frame within his frame. Greenaway uses the frame-within-frame as the cinematic equivalent of Shakespeare's paly-within-play : it offer him the possibility to analyse the work of art/artist/spectator relationship. Secondly, we analyse the relationship between the written word, oral word and the books. Like the written word, the oral word changes into a visual image: The linguistic richness and nuances of Shakeaspeare's characters turn into the powerful and authoritative, but monotone, voices of Gielgud-Prospero, who speaks the Shakespearean lines aloud, shaping the characters so powerfully through his worlds that they are conjured before us. Specially each book is placed over the frame of the play's action, only partially covering the image, so that it gives virtually every frame at least two space-time orientations. Thirdly, we try to show how Peter Greenaway uses pictorial references in order to illustrate the context of the Renaissance as well as pictorial techniques and language in order to question the nature of artistic representation. For exemple, The storm is visualised through reference to Botticelli's : the storm of papers swirling around the library is constructed to look like a facsimili copy of Michelangelo's Laurentiana Library in Florence. Greenaway's modern mannerism consists in imposing his own aesthetic vision and his questioning of art beyond the play's meta-theatricality: in other words, Shakespeare''s text has been adapted without being betrayed.

• Journal of Korean Philosophical Society
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• v.142
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• pp.221-241
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• 2017

I try to elucidate the essence of cinematic art in terms of Nietzsche's physiological philosophy of art. According to Nietzsche, the mise-en-$sc{\grave{e}}nes$ in the film are expressions of willingness to the power of the author, the director. These are not re-imitations of the imitations with Platonic measure, sinker, number, but framing the elan vital Erde, die $urspr{\ddot{u}}ngliche$ Vorstellung with the director's body-camera. In this context, the film is essentially die Kunst des Lebens, in which the body and the earth are mediated by cameras. Therefore, it is not the eyes or the head, but the body that is necessary to appreciate film art. But the body at this time does not mean the heavy body of Hollywood standard audiences manipulated, controlled, or transformed by capital. We should stand in front of the film work with body shaking between trauma and Rausch, a dancing body, and a light and fresh body. Only by watching film with the body, can we achieve the small revolutions in everyday life. For example, if we watch $B{\acute{e}}la$ Tarr's film The Turin Horse in such a way, we can no longer be the dwarfed human beings, der Herde-Mensch. Also, $B{\acute{e}}la$ Tarr's mise-en-scene will make us realize why Nietzsche had said that there is art to us not to be destroyed by the platonic truth.

• Cross-Cultural Studies
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• v.45
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• pp.245-268
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• 2016

Tokyo! is a 2008 French / Japanese / South Korean / German anthology film containing "Interior Design" by Michel Gondry, "Merde" by Leos Carax, and "Shaking Tokyo" by Joon-ho Bong, all of which were filmed in Tokyo. This cinematic triptych of three Tokyo-set stories is concerned with how the experience of self-alienation is related to urban life, that is, how to survive in a city as a self. The problem of life is the struggle for self-preservation. In Tokyo! the three film directors have shown that urban life is both self-deconstructing and self-preserving. In this paper, our purpose is to examine different modes of urban life by using two concepts reformulated by the French philosopher Jacques Derrida: the urban ipseity and auto-immunity. According to Derrida, ipseity is a system subjected to a circular structure. Such a system cannot avoid the general logic of auto-immunity; i.e., the structure of ipseity functions as both self-deconstructing and self-preserving. The three episodes contained in Tokyo! testify, each in its own way, to the function of that logic. In bringing to light the three modes of self: appropriation, dis-appropriation, and in-appropriation, we claim that the modality of urban life is confronted with the autoimmune reaction.

• 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 Korea Entertainment Industry Association
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• v.15 no.5
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• pp.45-53
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• 2021

Digital morph expresses the imaginary beyond the representation of reality by expressing the narrative effect characteristically. In particular, the effect of affect can be considered to be a characteristic of digital cinema as a post-cinema. In (2013), Morphing image prominently shows the characteristics of post-cinema. By actively utilizing software technology, this film gives a shocking effect by expressing the magical image. Paying attention to the post-cinematic characteristics of morphing different from classical film, this article treated the characteristics of digital morphing. The digital morphing presents the flow of affect visualizing uncanny phenomenon of body transformation. This evokes concept of neuro-image which Patricia Pisters distinguished the neuropsychiatric pathology that appears actively on the contemporary digital screen. The Neuro-image goes beyond the temporality of Deleuze's time-image presenting future. Allegedly, the morphing of presents the neuro-images when Nina's body changed to hybrid body with black swan. Digital Morphing technique provides a shocking effect, showing delirium when the body bizarrely deformed while dancing ballet. This is different from the attraction of the morphing in film, it expresses the emotion of the neoliberal era beyond representation. In conclusion, the digital morphing presents the neuro-image system modulating the shock. This shows the characteristics of digital film which interacting and controling the shock effect as post-cinema.

• Journal of Korea Entertainment Industry Association
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• v.14 no.5
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• pp.37-48
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• 2020

The film handles some happenings based on the story that a poor family sponges off a rich family. Junho Bong, a film director, has won the Palme d'Or in Cannes Film Festival and received a Academy Award for best picture, best original screen play, best international film and best director. The film has accomplished the cinematic achievements, but it seems that the implications the film aims to show might not be seriously appreciated to the public. The film has an unusual synopsis, which demonstrates that a deprived family is parasitic to a wealthy family. The storyline specifies how great the gap between the rich and the poor in Korea is. Accordingly, this article investigates some implications of the house, family, and society in the film .Consequently, three families (Kitaek's house, Park's luxury house, and maid's hidden basement) explicitly reveal distinctive social hierarchy. The common features found in two families are like this: the lower classes are willing to help one another but have no conscience and morality. The social implications in the film are closely associated with the class system based on the gap between the rich and the poor, the symbols of stone, and tragic ending. From the ending of the film, it is expected that the extreme social imbalance precedes the gap between the wealthy and the poor.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.59-67
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• 2019

This article examines how Brecht's Gestus is borrowed and transformed into the film. I examined the critical debates on the film's use of Brecht and the style of Brecht's acting adopted in radical experimental films and Hollywood films. In addition, through the case of Korean film actor/ress, I sought to apply the Brechtian theory. First, despite the criticism that the film's acceptance of Brecht is overly formal and mechanical, film theory and practice reflect Brecht's ideas. In particular, regardless of the socio-political situation of Brecht's day, his Gestus is suitable and useful for film acting. Brecht's thought was realized by technological innovations such as montage and computer special effects, and above all, the social attitude of the actor was popularized through the education of the audience. Second, his strategy on performance is no longer unfamiliar, and goes beyond the boundaries of contradictory daily life and art, and becomes the pleasure of popular film. Although the intentions of naturalism and anti-naturalism in acting arts are different, the process and effects look at the same point. Third, through the case of Korean film actor/ress as an attempt of popular understanding about Brecht strategy, I could confirm the possibility of searching identity of Korean film actor/ress.