• Title/Summary/Keyword: the movie Chicago

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A Study about Femme Fatale Style Makeup in the Movie Chicago (영화 시카고에 나타난 팜므 파탈의 메이크업 표면에 관한 연구)

  • Park Jung-Hae
    • Journal of the Korean Society of Costume
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    • v.56 no.7 s.106
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    • pp.96-104
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    • 2006
  • The purpose of this study is to analyze the makeup done to two female protagonists in the film, 'Chicago,' and explore how this makeup - nonverbal communication means - is realized in the area of makeup presentation for femme fatale and how it is societally accepted. Makeup varies by the femme-fatale types, and the general female population can apply these for images they want to express. In the future research, it might be interesting to examine specifically which femme-fatale images are preferred in Korea and the makeup and clothing of Korean stars who primarily influence these images.

A Study on the Costume and Color Image of the Movie - Focusing on Main Actresses' Costumes - (영화의 복식과 색채 이미지 연구 - 여자주인공 복식을 중심으로 -)

  • Hong, Jin-Hee;Cho, Kyu-Hwa
    • Journal of Fashion Business
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    • v.12 no.2
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    • pp.12-27
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    • 2008
  • The purpose of this study is to study main characters' (Roxie Hart, Velma Kelly) costumes and color images in the movie "Chicago". First, regarding the costumes and color images in characters, Roxie's straight silhouette slip in skin tone reflected her frailty and monotonous routines in reality. On the other hand, a white beaded dress showed her fame-hungry and self-absorption in fantasy. Also, a low waistline blue dress and a see-through black dress with a white collar were to disguise her guilt and draw sympathy to win a suitcase. Black and contrasting colors of red and blue body-suit style dresses expressed Velma's sensual attraction, aggressiveness, and desperation. Second, these images were reinforced by color images in the backgrounds in the film. On the scene of Velma's 'cell block tango', black and red showed her strong character. Contrasting colors of the red and blue expressed Velma's desire and despair in her act of 'the desperation'. As for images of black color on Roxie's stages, they represented her self-absorption and frustration of failing to attract public attention. On the ending of duet performance of Roxie and Velma, the yellow of the background expressed success and joy in life.

SHD Digital Cinema Distribution over a Fast Long-Distance Network

  • Takahiro Yamaguchi;Daisuke Shirai;Mitsuru Nomura;Kazuhiro Shirakawa;Tatsuya Fujii;Tetsuro Fujii;Kim, io-Oguchi
    • Journal of Broadcast Engineering
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    • v.9 no.2
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    • pp.119-130
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    • 2004
  • We have developed a prototype super-high-definition (SHD) digital cinema distribution system that can store, transmit, and display eight-million-pixel motion pictures that have the image quality of a 35-mm film movie. The system contains a movie server, a real-time decoder, and an SHB projector. Using a Gigabit Ethernet link and TCP/IP, the server transmits JPEG2000 compressed motion picture data streams to the decoder at transmission speeds as high as 300 Mbps. The received data streams are decompressed by the decoder, and then projected onto a screen via the projector. By using an enlarged TCP window, multiple TCP streams, and a shaping function to control the data transmission quantity, we achieved real-time streaming of SHD movie data at about 300 Mbps between Chicago and Los Angeles, a distance of more than 3000 km. We also improved the decoder performance to show movies with Image qualities of 450 Mbps or higher. Since UDP is more suitable than TCP for fast long-distance streaming, we have developed an SHD digital cinema UDP relay system, in which UDP is used for transmission over a fast long-distance network. By using four pairs of server-side-proxy and decoder-side-proxy, 450-Mbps movie data streams could be transmitted.

Study on Image of Femme Fatale represented on Costumes in the Movie 'Chicago' (영화 '시카고'의 의상(衣裳)에 나타난 팜므 파탈 이미지 연구(硏究))

  • Kim, Ji-Young;Kan, Ho-sup
    • Journal of Fashion Business
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    • v.8 no.1
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    • pp.16-33
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    • 2004
  • Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

Study on the Realities in Seoul Subway Crimes: Criminal Psychology (서울지하철 범죄 실태에 대한 범죄심리학적 연구)

  • Rim, Sang-Gon
    • Korean Security Journal
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    • no.7
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    • pp.233-285
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    • 2004
  • ‘Defined legally as a violation of law' (Sutherland, E. H. Principles of Criminology, Lippincott, Chicago, 1939) Crime within the group is essentially and primarily antisocial in that the criminal who is welfare of his group acts instead against it and breaks the principles of social solidarity not merely by not doing what these principles prescribe, but by doing something exactly opposites. Any program set up to attack crime and delinquent behavior at their sources. A program of his nature needs the constant and comprehensive collaboration of psychiatrists, social works, educations, lawmakers, and public officials, since crime is a social problem and it should be treated as such. Some crime preventives which should be mentioned are as follows, (1) The insurance that every child will be decently born and that his home life be socially and economically adequate; without socially mature parents the chid is handicapped at the start; thus parental education, integrated with the public school system, should be developed now. (2) A more meaningful educational program which would emphasize ideals of citizenship, moral integrity, and respect for the law and the police. (3) A periodic check made for potential delinquents throughout the public schools and treatment provided if possible; and if not, proper segregation in institutions. (4) Careful attention paid to press, movies, and radio so that crime may no longer appear to be glamorous. This can be done by women's clubs, civic bodies, and other educational groups exerting pressure on the movie syndicates and broadcasting companies to free their productions of the tawdry and lurid characteristics of crime and criminals. Aggression associated with the phallic stage of development, The child ordinarily comprehends sexual intercourse as an aggressive and sadistic act on the part of the male, and specifically on the part of the penis. Evidence that the penis is phantasied as a weapon of violence and destruction come from unconscious productions of normal adults. Limerick, for instance, often refer to the penis as square, or too large, etc., so that intercourse is dangerous and painful for the partner, This may wall be a projection of the male's own fear of coitus. A certain portion of the death-instinct always remains within the person; it is called 'primal sadism' and according to Freud is identical with masochism. 'After the chief part of it(the death instinct) has been directed outwards towards objects, there remains as a residuum within the organism the true erotogenic masochism, which on the one hand becomes a component of the libido and on the other still has the subject itself for a object.' Criminalism, compulsive-neurotic frequent repetition of criminal acts in a compulsive manner. Like most symptoms of the compulsive-neurotic, such antisocial act are closely rated to feelings of hostility and aggression, often against the father. Because these acts are symptomatic, they afford only temporary relief and are therefore repeated. One patient with compulsive-neurotic criminalism was apprehended after breaking into hardware store and stealing money. He later confessed to many similar incidents over the preceding two years. At the same time it was apparent that he stole only for the sake of stealing. He did not need the money he thus obtained and had no special plans for using it.

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