• The Journal of the Korea Contents Association
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• v.17 no.8
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• pp.654-666
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• 2017

is a 1968 western novel by Charles Portis. The novel was adapted for screenplay of the 1969 movie of the same name directed by Henry Hathaway. In 2010, Coen brothers directs, writes, and produces the second adaptation of Portis's novel writing most of the script. Of nineteen films directed by Coen brothers, only and are adapted from novel. (released as in Korea), is the only remake of an existing film by Coen brothers. The story plot of the novel or the 1969 or 2010 do not differ greatly, however by emphasizing on different subjects, the character development is slightly altered and in the end, all three are perceived as unique. By comparing what each story is trying to emphasis, examining different cinematic devices, and how it relates to previous worldviews of modern America seen through Coen brothers, portrays a dark society continuously consuming and while illustrating origin of problematic American society.

• The Journal of the Korea institute of electronic communication sciences
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• v.9 no.11
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• pp.1317-1322
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• 2014

To complete an image, it is needed to go through the process to capture the actual actor's motion and compose it with virtual environment. Due to the excessive cost for production or lack of post-processing technology, however, it is mostly conducted by manual labor. The actor plays his role depending on his own imagination at the virtual chromakey studio, and at that time, he has to move considering the possible collision with or reaction to an object that does not exist. And in the process of composition applying CG, when the actor's motion does not go with the virtual environment, the original image may have to be discarded and it is necessary to remake the film. The current study suggested and realized depth-based real-time 3D virtual image composition system to reduce the ratio of remaking the film, shorten the production time, and lower the production cost. As it is possible to figure out the mutual collision or reaction by composing the virtual background, 3D model, and the actual actor in real time at the site of filming, the actor's wrong position or acting can be corrected right there instantly.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.71-82
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• 2019

Today's media environment is becoming very complicated and the trend of media convergence is getting clearer. The convergence of media is the supreme hot issue. In this wave of convergence, there has also been a huge change between movies and electronic games. The remake boom between them showed a tremendous economic effect that can be achieved by exchanging two media of essentially different characteristics. As computer virtual reality technologies evolve, electronic games will provide a virtual world that can satisfy the demands of the visual, auditory, and tactile aspects very real to the public with the Internet. At that time, movies and other media will be thoroughly melted into the virtual world created by electronic games, and they will become an element of the virtual world as those media that exist in the truth world.

• Journal of Digital Convergence
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• v.15 no.12
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• pp.461-468
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• 2017

'Beauty and the Beast' was generated as a novel in 1740 and descended to date with the musical movie in 2017. This study is to understand what contents has been derived and expanded from one story for 277 years upon analyzing 'Beauty and the Beast' with the background of the times. Due to the limitation to include all the folktales and stories, the subjects of this study are limited with the contents that had been known and recorded as 'Beauty and the Beast.' 'Beauty and the Beast' has been expanded to 7 types of contents including novel, fairytale, movie, drama, animation, musical and film opera. It was created as a novel in the eighteenth century, made as a fairytale, and developed as a movie by Jean Cocteau, a movie director. With Industrial Revolution and the development of science, 'Beauty and the Beast' which derived into animation, drama, and musical contents, has been developed as the film opera thanks to the new trial of Philip Glass and the development of music industry. 'Beauty and the Beast' is still regenerating with a variety of contents continuously upon the development of computer technology and the fad of global remake. With anticipation of further analytical studies on 'Beauty and the Beast,' it is expected that the data of this study can be contributed as a reference in the other studies.

• Cross-Cultural Studies
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• v.40
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• pp.111-131
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• 2015

An unusual success engendering loyalty among cult fans in the United States, Mamoru Oshii's 1995 cyberpunk anime, Ghost in the Shell (GITS) revolves around a female cyborg assassin named Motoko Kusanagi, a.k.a. "the Major." When the news came out last year that Scarlett Johansson was offered 10 million dollars for the role of the Major in the live action remake of GITS, the frustrated fans accused DreamWorks of "whitewashing" the classic Japanimation and turning it into a PG-13 film. While it would be premature to judge a film yet to be released, it appears timely to revisit the core achievement of Oshii's film untranslatable into the Hollywood formula. That is, unlike ultimately heteronormative and humanist sci-fi films produced in Hollywood, such as the Matrix trilogy or Cloud Atlas, GITS defies a Hollywoodization by evoking much bafflement in relation to its queer, posthuman characters and settings. This essay homes in on Major Kusanagi's body in order to update prior criticism from the perspectives of posthumanism and queer theory. If the Major's voluptuous cyborg body has been read as a liberating or as a commodified feminine body, latest critical work of posthumanism and queer theory causes us to move beyond the moralistic binaries of human/non-human and male/female. This deconstruction of binaries leads to a radical rethinking of "reality" and "identity" in an image-saturated, hypermediated age. Viewed from this perspective, Major Kusanagi's body can be better understood less as a reflection of "real" women than as an embodiment of our anxieties on the loss of self and interiority in the SNS-dominated society. As is warned by many posthumanist and queer critics, queer and posthuman components are too often used to reinforce the human. I argue that the Major's hybrid body is neither a mere amalgam of human and machine nor a superficial postmodern blurring of boundaries. Rather, the compelling combination of individuality, animality, and technology embodied in the Major redefines the human as always, already posthuman. This ethical act of revision-its shifting focus from oppressive humanism to a queer coexistence-evinces the lasting power of GITS.