This paper examines the narrative effect and the genre variation which is constructed by the time of narration that transforms story order through analyzing the film, Knives Out(2019), and confirms that this strengthens the social message of the film. Especially, I analyze the narrative time focusing on the “analepsis” which indicates the earlier incidents without following the chronological orders. I use the method of Gérard Genette who had much influence on the study on film narrative as well as novel, as an theoretical tool. Genette’s concept on narrative order is very useful for analyzing the difference between story time and time of narration. However, there are some theoretical limitations from the unique characteristics of film narrative which is quite distinct from literature. Consequently, I was able to verify the following through this study. Firstly, Knives out plays a variation on the convention of detective film in the process of rearranging story order in the plot. This plays the role from which effectively draws the curiosity, suspense and surprise of audience, and clarifies the theme on the criticism against class inequality and capitalist selfishness in American society. Secondly, there are some points which get out of Genette’s narrative theory on the time throughout the film. Because a film has both visual elements and auditory elements unlike a literary text, and there are not a given reception order of audience in a frame.
{"title":"An Analysis on the Narrative Time of Knives Out: the Utility and Limitation of Gérard Genette’s Narrative Theory","authors":"S. Jeong, Y. Chung","doi":"10.56659/kcsc.2023.1.39","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.39","url":null,"abstract":"This paper examines the narrative effect and the genre variation which is constructed by the time of narration that transforms story order through analyzing the film, Knives Out(2019), and confirms that this strengthens the social message of the film. Especially, I analyze the narrative time focusing on the “analepsis” which indicates the earlier incidents without following the chronological orders. I use the method of Gérard Genette who had much influence on the study on film narrative as well as novel, as an theoretical tool. Genette’s concept on narrative order is very useful for analyzing the difference between story time and time of narration. However, there are some theoretical limitations from the unique characteristics of film narrative which is quite distinct from literature. Consequently, I was able to verify the following through this study. Firstly, Knives out plays a variation on the convention of detective film in the process of rearranging story order in the plot. This plays the role from which effectively draws the curiosity, suspense and surprise of audience, and clarifies the theme on the criticism against class inequality and capitalist selfishness in American society. Secondly, there are some points which get out of Genette’s narrative theory on the time throughout the film. Because a film has both visual elements and auditory elements unlike a literary text, and there are not a given reception order of audience in a frame.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121798073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
PetTube is new kind of contents created with the progression of digital media. Pets are re-created in PetTube as a member of the community and a special being with own individuality and identity. Based on the tendency of portraying animals, this research analyzed the process of characterization and storytelling of animals on PetTube. Character semiotics and ‘Devenir-’ theory of Gilles Deleuze and Pierre-Féix Guattari was used as methods to interpret how animals are described in Youtube channels. Animal is the core of PetTube. Animals are described as a humanlike being and constantly form a relation with internal and external elements of the video. Former is ‘devenir-character’, which makes animals deviate from the fixed form of ‘animal’. Animals become character by associating language and consciousness to the animal’s appearance. Latter is storytelling of Ritornello, which is done through five patterns of interaction: with human, animal, object, oneself and perspective. Repetition of action and reaction of animals within the interaction forms devenir-character’s intrinsic domain. This paper has pioneering significance in PetTube research area for analyzing contents based on character and storytelling. Although the animal had become the main source of contents for a long time on Youtube, the research related to PetTube is still insufficient. It provides an implication to the contents researchers. This research can be the trigger and an indicator for follow-up researchers to diversify the topic related to PetTube and animal contents.
PetTube是随着数字媒体的发展而产生的一种新型内容。宠物在PetTube中被重新塑造成一个社区的成员，一个有自己个性和身份的特殊存在。基于刻画动物的趋势，本研究分析了PetTube上动物的塑造和讲故事的过程。角色符号学和吉尔·德勒兹(Gilles Deleuze)和皮埃尔·法萨伊克斯·瓜塔里(pierre - f ix Guattari)的“Devenir”理论被用作解释Youtube频道中如何描述动物的方法。动物是PetTube的核心。动物被描述为类似人类的存在，并不断与视频的内部和外部元素形成关系。前者是“兽性”，它使动物脱离了“动物”的固定形态。动物通过将语言和意识与动物的外表联系起来而形成性格。后者是利托内洛的故事，通过与人、动物、物体、自己和视角的五种互动模式来完成。动物在相互作用中的动作和反应的重复形成了devenir-character的内在域。本文对基于角色和故事的内容分析在PetTube研究领域具有开创性意义。尽管在很长一段时间内，这只动物已经成为Youtube上的主要内容来源，但与PetTube相关的研究仍然不足。这为内容研究者提供了一个启示。本研究可以成为后续研究人员将PetTube和动物内容相关的主题多样化的触发和指标。
{"title":"PetTube Animals, devenir-character and becoming a story: Characterization and storytelling of animals in Youtube","authors":"H. Kil","doi":"10.56659/kcsc.2023.1.59","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.59","url":null,"abstract":"PetTube is new kind of contents created with the progression of digital media. Pets are re-created in PetTube as a member of the community and a special being with own individuality and identity. Based on the tendency of portraying animals, this research analyzed the process of characterization and storytelling of animals on PetTube. Character semiotics and ‘Devenir-’ theory of Gilles Deleuze and Pierre-Féix Guattari was used as methods to interpret how animals are described in Youtube channels. Animal is the core of PetTube. Animals are described as a humanlike being and constantly form a relation with internal and external elements of the video. Former is ‘devenir-character’, which makes animals deviate from the fixed form of ‘animal’. Animals become character by associating language and consciousness to the animal’s appearance. Latter is storytelling of Ritornello, which is done through five patterns of interaction: with human, animal, object, oneself and perspective. Repetition of action and reaction of animals within the interaction forms devenir-character’s intrinsic domain. This paper has pioneering significance in PetTube research area for analyzing contents based on character and storytelling. Although the animal had become the main source of contents for a long time on Youtube, the research related to PetTube is still insufficient. It provides an implication to the contents researchers. This research can be the trigger and an indicator for follow-up researchers to diversify the topic related to PetTube and animal contents.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126515158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-31DOI: 10.56659/kcsc.2023.1.117
Kyung-Jin Lee
This paper aims to examine the vision and projects of the British Arts Council, presenting a comparison with – and subsequent analysis of – project development in Korea. This paper begins by defining the direction of British culture and art by analysing the ‘Arm’s length principle’, which is a fundamental policy element in British culture and art. Following this, our gaze shifts to consider the British Art Council’s future strategy, the projects it plans to undertake, and the goals it hopes to achieve. In particular, we examine the British Art Council’s aim to inform the public on several topics and plan events that include various genres of music, visual arts, folklore and archaeology, as well as its approach to revitalizing a region of England using the works of local artists in the example of the 2022 Commonwealth Games Culture Festival held in Birmingham. In the third chapter, we discuss the Bristol Regional Project and the Greenwich Library Project in depth, explaining the British Arts Council’s approach to collaborating with the fields of education, history, literature and archaeology, art experts (including curators, creative directors, planners, professors, and so on), and public institutions to successfully develop and complete projects. By analysing the cases of the Bristol Regional Project and Greenwich Library Project, we aim to determine whether these projects are consistent with the vision and future strategy set by the British Arts Council, as well as how these projects have developed and altered British society and the art world more broadly. In addition to local projects, the British Arts Council intends to work abroad to discover new artists and to promote British art through them to facilitate its growth, which will also be a point of discussion in Chapter 3. The final chapter will examine projects conducted by the Seoul Cultural Foundation during the COVID-19 period. Making a comparison to the UK’s regional culture and arts policies and programs, the limitations of the Korean domestic art landscape are discussed and areas that need to be re-established are identified.
{"title":"British Cultural Policy and Strategy: Arts Council’s projects","authors":"Kyung-Jin Lee","doi":"10.56659/kcsc.2023.1.117","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.117","url":null,"abstract":"This paper aims to examine the vision and projects of the British Arts Council, presenting a comparison with – and subsequent analysis of – project development in Korea. This paper begins by defining the direction of British culture and art by analysing the ‘Arm’s length principle’, which is a fundamental policy element in British culture and art. Following this, our gaze shifts to consider the British Art Council’s future strategy, the projects it plans to undertake, and the goals it hopes to achieve. In particular, we examine the British Art Council’s aim to inform the public on several topics and plan events that include various genres of music, visual arts, folklore and archaeology, as well as its approach to revitalizing a region of England using the works of local artists in the example of the 2022 Commonwealth Games Culture Festival held in Birmingham. In the third chapter, we discuss the Bristol Regional Project and the Greenwich Library Project in depth, explaining the British Arts Council’s approach to collaborating with the fields of education, history, literature and archaeology, art experts (including curators, creative directors, planners, professors, and so on), and public institutions to successfully develop and complete projects. By analysing the cases of the Bristol Regional Project and Greenwich Library Project, we aim to determine whether these projects are consistent with the vision and future strategy set by the British Arts Council, as well as how these projects have developed and altered British society and the art world more broadly. In addition to local projects, the British Arts Council intends to work abroad to discover new artists and to promote British art through them to facilitate its growth, which will also be a point of discussion in Chapter 3. The final chapter will examine projects conducted by the Seoul Cultural Foundation during the COVID-19 period. Making a comparison to the UK’s regional culture and arts policies and programs, the limitations of the Korean domestic art landscape are discussed and areas that need to be re-established are identified.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130871862","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-31DOI: 10.56659/kcsc.2023.1.167
Jun-Yeob Lee
(1952) and (1952) have been regarded as representative realism films produced during the Korean War. Just as Italian Neorealism came about World War II, Korean realism films in the 1950s also appeared with the Korean War. (1952) and (1952) depicted the everyday scenery of Korean society, And critics at the time called these films a work of (Neo)realism. In terms of narrative, is similar to the realism films produced in Japanese colonial era, (1940) and (1941). Since the filming of was conducted even before the outbreak of the Korean War, there were parts that did not fit the reality of the time. However, as director Shin Sang-ok recalls, borrowed Neorealistic styles and depicted various lower-class people. Therefore, most of the reviews evaluated as an exemplary (Neo)realism work. Critics took note of that the Italian film industry gained worldwide fame despite the difficult situation caused by the war. So they hoped that young Korean directors would create new trends such as Neorealism.
{"title":"A Study on Realism Films Produced During the Korean War: Focusing on and","authors":"Jun-Yeob Lee","doi":"10.56659/kcsc.2023.1.167","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.167","url":null,"abstract":"<The Street of Sun>(1952) and <The Evil Night>(1952) have been regarded as representative realism films produced during the Korean War. Just as Italian Neorealism came about World War II, Korean realism films in the 1950s also appeared with the Korean War. <The Street of Sun>(1952) and <The Evil Night>(1952) depicted the everyday scenery of Korean society, And critics at the time called these films a work of (Neo)realism. In terms of narrative, <The Street of Sun> is similar to the realism films produced in Japanese colonial era, <Tuition>(1940) and <Angeles on the Streets>(1941). Since the filming of <The Evil Night> was conducted even before the outbreak of the Korean War, there were parts that did not fit the reality of the time. However, as director Shin Sang-ok recalls, <The Evil Night> borrowed Neorealistic styles and depicted various lower-class people. Therefore, most of the reviews evaluated <The Evil Night> as an exemplary (Neo)realism work. Critics took note of that the Italian film industry gained worldwide fame despite the difficult situation caused by the war. So they hoped that young Korean directors would create new trends such as Neorealism.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"169 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116318906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study aims to examine the storytelling method in which the two characteristics of the 'maturity' plot of the story are properly mixed together with the method of the time transcendence motif shown in the Japanese film . In , while transforming the existing motive in the process of using the time machine and the experience of the protagonist boy's 'time transcendence', the storytelling method applied the 'maturity' plot grammar to learn about the 'non-mainstream' in society. It conveys a critical mind and a thematic consciousness that the past, present, and future are connected to each other. The motivation for time transcendence through a time machine in many films based on time travel so far stems from the desire to change the wrong reality through time travel. But in this movie, it's different. In a future world where the length of the video is 5 seconds, the boy's pure heart works as a motivation when he can't find the debut film of the master director 'Barefoot'. In particular, this boy is playing the role of the main character, but the actual protagonist in this film is 'Barefoot', a 'girl' who loves the 'Samurai' genre living in the present. This is because this film puts more weight on the growth of 'girls' than the growth of boys who experience time transcendence. In view of the fact that more and more films are being produced faithfully to the conventions of the genre for the stability of popular box office success and success, the method approached in this film conveys the intention and theme of the creator rather than following only the existing motive conventionally. It shows that the storytelling potential of a work can be expanded when transformation is pursued in an effective way to do so.
{"title":"Storytelling strategy of transformation of time transcendence motive and maturation plot grammar in","authors":"Jeong-Ung Kim","doi":"10.56659/kcsc.2023.1.99","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.99","url":null,"abstract":"This study aims to examine the storytelling method in which the two characteristics of the 'maturity' plot of the story are properly mixed together with the method of the time transcendence motif shown in the Japanese film . In , while transforming the existing motive in the process of using the time machine and the experience of the protagonist boy's 'time transcendence', the storytelling method applied the 'maturity' plot grammar to learn about the 'non-mainstream' in society. It conveys a critical mind and a thematic consciousness that the past, present, and future are connected to each other. The motivation for time transcendence through a time machine in many films based on time travel so far stems from the desire to change the wrong reality through time travel. But in this movie, it's different. In a future world where the length of the video is 5 seconds, the boy's pure heart works as a motivation when he can't find the debut film of the master director 'Barefoot'. In particular, this boy is playing the role of the main character, but the actual protagonist in this film is 'Barefoot', a 'girl' who loves the 'Samurai' genre living in the present. This is because this film puts more weight on the growth of 'girls' than the growth of boys who experience time transcendence. In view of the fact that more and more films are being produced faithfully to the conventions of the genre for the stability of popular box office success and success, the method approached in this film conveys the intention and theme of the creator rather than following only the existing motive conventionally. It shows that the storytelling potential of a work can be expanded when transformation is pursued in an effective way to do so.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"697 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122983481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-31DOI: 10.56659/kcsc.2023.1.131
Hee-kyung Kim
Funsumer, a combination of fun and consumer, refers to a person who makes fun a major factor in purchasing and enjoying when consuming content or services. What they seek is so-called a waste. Funsumer pursues fun both in the consumption process and after consumption, and shares their fun on SNS or short form platforms such as Instagram. In particular, the MZ generation is paying attention to this cost-fun, and a number of web dramas, advertisements, YouTube contents, short form contents, and metaverse contents are produced for them, and the MZ generation, who do not want to remain only consumers, becomes producers and creates a playground called Panplay. Therefore, here we examine the definition of fun, the characteristics of the MZ generation, the emergence and characteristics of funsumer, and the characteristics and six types of funsumer marketing for the MZ generation, which is funsumer. Through this, we will find out how funsumer uses and accepts fun Content.
{"title":"Characteristics of the MZ Generation as Funsumers and Types of Funsumer Marketing: Focusing on Funsumer Marketing","authors":"Hee-kyung Kim","doi":"10.56659/kcsc.2023.1.131","DOIUrl":"https://doi.org/10.56659/kcsc.2023.1.131","url":null,"abstract":"Funsumer, a combination of fun and consumer, refers to a person who makes fun a major factor in purchasing and enjoying when consuming content or services. What they seek is so-called a waste. Funsumer pursues fun both in the consumption process and after consumption, and shares their fun on SNS or short form platforms such as Instagram. In particular, the MZ generation is paying attention to this cost-fun, and a number of web dramas, advertisements, YouTube contents, short form contents, and metaverse contents are produced for them, and the MZ generation, who do not want to remain only consumers, becomes producers and creates a playground called Panplay. Therefore, here we examine the definition of fun, the characteristics of the MZ generation, the emergence and characteristics of funsumer, and the characteristics and six types of funsumer marketing for the MZ generation, which is funsumer. Through this, we will find out how funsumer uses and accepts fun Content.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131661016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-31DOI: 10.56659/kdps.2022.7.1.89
Tae-Ryong Kim
The purpose of this paper is to examine the aspects of desire and resistance inherent in Korean hip-hop. And to understand the current socio-cultural function and position of Korean hip-hop. For this purpose, was selected as a sample of Korean hip-hop. And all the songs released from season 3 to season 10 were analyzed. Through this, I tried to understand the desire and resistance inherent in today's Korean hip-hop. And compared with the past from the point of view of 'inheritance and change', and examined what it means. As a result, today's Korean hip-hop has the following socio-cultural meaning. First, underground hip-hop in Korea has been handed down as an ‘attitude’, claiming an independent identity and pursuing self-realization. Second, Korean hip-hop has changed from a means for public discourse to a means for personal discourse. Third, capitalism and materialism have shifted from the object of resistance to the object of pursuit. I hope that this thesis can contribute to the formation of a progressive discourse related to Korean hip-hop.
{"title":"The succession and change of Korean hip-hop expressed through","authors":"Tae-Ryong Kim","doi":"10.56659/kdps.2022.7.1.89","DOIUrl":"https://doi.org/10.56659/kdps.2022.7.1.89","url":null,"abstract":"The purpose of this paper is to examine the aspects of desire and resistance inherent in Korean hip-hop. And to understand the current socio-cultural function and position of Korean hip-hop. For this purpose, was selected as a sample of Korean hip-hop. And all the songs released from season 3 to season 10 were analyzed. \u0000Through this, I tried to understand the desire and resistance inherent in today's Korean hip-hop. And compared with the past from the point of view of 'inheritance and change', and examined what it means. \u0000As a result, today's Korean hip-hop has the following socio-cultural meaning. First, underground hip-hop in Korea has been handed down as an ‘attitude’, claiming an independent identity and pursuing self-realization. Second, Korean hip-hop has changed from a means for public discourse to a means for personal discourse. Third, capitalism and materialism have shifted from the object of resistance to the object of pursuit. I hope that this thesis can contribute to the formation of a progressive discourse related to Korean hip-hop.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125850707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-31DOI: 10.56659/kdps.2022.7.1.27
J. Kang
This paper examines the possibility that the discourse of dismantlement of faciality can be combined with character creation in the digital age by analyzing the facial images in Jean Dubuffet's Art Brut painting focusing on Gilles Deleuze's concept of 'faciality'. According to Deleuze, the face is a layer of linguistic expression deterritorialized from the body, and it is the mechanism of faciality that fixes humans to signifiance and subjectification by a single code that dominates Western civilization. This paper attempts to capture the prototype of the face that the mechanism of faciality do not penetrate through the raw image of faces in Art Brut, which breaks down the classical representation system. These informel faces of Art Brut and Deleuze's undecidable faces suggest the possibility of various expressions of face and body images through the undecidability between faciality and body, and the relationship with material objects. In other words, the deconstruction of faciality as claimed in this paper can open the infinite possibilities of creating digital characters with another vitality as a new approach to face representation.
{"title":"A study on the possibility of combining the dismantlement of faciality with digital character creation: Focusing on the 'Art Brut' of Jean Dubuffet","authors":"J. Kang","doi":"10.56659/kdps.2022.7.1.27","DOIUrl":"https://doi.org/10.56659/kdps.2022.7.1.27","url":null,"abstract":"This paper examines the possibility that the discourse of dismantlement of faciality can be combined with character creation in the digital age by analyzing the facial images in Jean Dubuffet's Art Brut painting focusing on Gilles Deleuze's concept of 'faciality'. \u0000According to Deleuze, the face is a layer of linguistic expression deterritorialized from the body, and it is the mechanism of faciality that fixes humans to signifiance and subjectification by a single code that dominates Western civilization. This paper attempts to capture the prototype of the face that the mechanism of faciality do not penetrate through the raw image of faces in Art Brut, which breaks down the classical representation system. These informel faces of Art Brut and Deleuze's undecidable faces suggest the possibility of various expressions of face and body images through the undecidability between faciality and body, and the relationship with material objects. In other words, the deconstruction of faciality as claimed in this paper can open the infinite possibilities of creating digital characters with another vitality as a new approach to face representation.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130751138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-31DOI: 10.56659/kdps.2022.7.1.47
Dong-Eun Chun, S. Ahn
Adolescent films from the beginning of the 1960s highlight important context about the first Golden Age of Korean films. Adolescent films created a stateless space that did not resemble the reality of Korea at the time. They were extremely popular among the young audience due to their narratives of rebellion against the older generation. Shin Seong-il and Um Aing-ran, who were so popular as a couple that they were labelled as the symbols of adolescent films, co-starred in various films and created distinct personas. They existed within the screen as the alter egos of the young audience and portrayed the desires of the youth at the time. Therefore, they were often objectified or admired. This paper aims to examine the symbols in adolescent films that Shin Seong-il and Um Aing-ran co-starred in. It will use this analysis to draw conclusions on how the personas they created within the films corresponded to the reality outside of the screen. Silver Screen, a popular film magazine at the time, had the characteristics of a specialized magazine because it viewed 21 celebrities as actors and did not focus on gossip. However, the articles from Silver Screen display a tendency to subtly intertwine fabricated information about the celebrity couple from their movie’s narrative with the actual information from their reality as real people. For example, it is sometimes imagined that Shin Seong-il and Um Aing-ran’s marriage is the realization of the fruition of their love that was delayed or not possible in their adolescent films. Their marriage in reality became the visualization of a scene that the public did not get to witness in the fabricated world of the movies. In other words, their marriage acted as a narrative conclusion for the public. To sum up, this paper will analyze the representation of celebrities in movies with film magazine articles from that era. Based on this analysis, it aims to explore how the desires of the public can intertwine with the representation of celebrities.
{"title":"Representation of Celebrities in Adolescent Films and Its Relationship with Film Magazines : Examining Articles about Shin Seong-il and Um Aing-ran from Silver Screen, the Film Magazine of 1960s","authors":"Dong-Eun Chun, S. Ahn","doi":"10.56659/kdps.2022.7.1.47","DOIUrl":"https://doi.org/10.56659/kdps.2022.7.1.47","url":null,"abstract":"Adolescent films from the beginning of the 1960s highlight important context about the first Golden Age of Korean films. Adolescent films created a stateless space that did not resemble the reality of Korea at the time. They were extremely popular among the young audience due to their narratives of rebellion against the older generation. Shin Seong-il and Um Aing-ran, who were so popular as a couple that they were labelled as the symbols of adolescent films, co-starred in various films and created distinct personas. They existed within the screen as the alter egos of the young audience and portrayed the desires of the youth at the time. Therefore, they were often objectified or admired. \u0000This paper aims to examine the symbols in adolescent films that Shin Seong-il and Um Aing-ran co-starred in. It will use this analysis to draw conclusions on how the personas they created within the films corresponded to the reality outside of the screen. Silver Screen, a popular film magazine at the time, had the characteristics of a specialized magazine because it viewed 21 celebrities as actors and did not focus on gossip. However, the articles from Silver Screen display a tendency to subtly intertwine fabricated information about the celebrity couple from their movie’s narrative with the actual information from their reality as real people. For example, it is sometimes imagined that Shin Seong-il and Um Aing-ran’s marriage is the realization of the fruition of their love that was delayed or not possible in their adolescent films. Their marriage in reality became the visualization of a scene that the public did not get to witness in the fabricated world of the movies. In other words, their marriage acted as a narrative conclusion for the public. To sum up, this paper will analyze the representation of celebrities in movies with film magazine articles from that era. Based on this analysis, it aims to explore how the desires of the public can intertwine with the representation of celebrities.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"57 1‐2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133292399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-31DOI: 10.56659/kdps.2022.7.1.11
seung-hak chi
In this paper, I will deal with the existence of visual effect technology. This article includes the value of homogeneity between animations and films. In this intention, I want to emphasize the fact that technology is connected to the issue of aesthetic politics and the icon is producing the functions as a cultural symbol. In particular, this paper focuses on the technical characteristics and historical relationship of the Bray-Hurd process and the Rotoscope system which are able to be intervened by method of scientific thought. Rotoscope system introduces the simulation of mathematical equations applied to CGI technology so that the social origin and historical technology implicate cultural technology. Also in this article, I want to compare Avy Warburg's Phatosformel with the movement of the Rotoscope, which born the historical flow from painting, animation, to film.
{"title":"A Study on the Existence of CGI Technology: Focused on Rotoscope and Fluid Dynamics","authors":"seung-hak chi","doi":"10.56659/kdps.2022.7.1.11","DOIUrl":"https://doi.org/10.56659/kdps.2022.7.1.11","url":null,"abstract":"In this paper, I will deal with the existence of visual effect technology. This article includes the value of homogeneity between animations and films. In this intention, I want to emphasize the fact that technology is connected to the issue of aesthetic politics and the icon is producing the functions as a cultural symbol. In particular, this paper focuses on the technical characteristics and historical relationship of the Bray-Hurd process and the Rotoscope system which are able to be intervened by method of scientific thought. \u0000Rotoscope system introduces the simulation of mathematical equations applied to CGI technology so that the social origin and historical technology implicate cultural technology. \u0000Also in this article, I want to compare Avy Warburg's Phatosformel with the movement of the Rotoscope, which born the historical flow from painting, animation, to film.","PeriodicalId":127578,"journal":{"name":"K-Culture·Story Contents Reasearch Institute","volume":"94 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126874167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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