• Title, Summary, Keyword: 예술영화

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Improvement Directions for the Welfare of Filmmakers 'Focusing on Filmmaker Certification and Implementation Methods for 「Artist Welfare Card」' (영화 창작인 복지 개선 방향 '영화인 자격 증명과 「예술인 복지카드」도입 방안을 중심으로')

  • Lee, Choong-Jik;Kim, Loyou
    • The Journal of the Korea Contents Association
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    • v.14 no.11
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    • pp.154-163
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    • 2014
  • This paper has examined the current status of Korea's welfare policy and asserts the necessity of artist classification by types of employment, dividing them into those who have irregular jobs and those who are in permanent positions, focusing on filmmakers. Furthermore, it has looked into the certification policy for artist welfare support that is currently in action. In conclusion, this paper discusses the certification and suggests implementation methods for "Artist Welfare Card" in expectation of future activation of Artist Welfare Support Project.

Analysis of Artistic Symbol Expression of Movie Contents Focused on the film "Roma(2018)" (영화콘텐츠의 예술적 상징표현 분석연구 영화 "로마(2018)"을 중심으로)

  • Lee, Tae-Hoon
    • Journal of Digital Convergence
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    • v.17 no.11
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    • pp.475-482
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    • 2019
  • Analyzing the inner meaning and expression of philosophy by analyzing the composition, symbolic expression, and style of the film with high artistic perfection, which contains the spirit of the times, considers human beings through society and history, and raises awareness of life and the present generation. It will be a very meaningful and valuable study in film as art. The movie 'Rome' was cut into the rest of the public's mind by being tempered, hidden and omitted, and the color was black and white. Many aesthetic attempts can be found through symbolic images expressing the ironic message of maid's daily life as a race, capital, socially oppressed history. It can be seen that he expresses his own authorism visual language by drawing symbolic expressions through many contrasts and symbolic expressions through objects. The analysis of commercial films containing these artistic values is expected to help in the future production as a measure of the progress of art films and precedents of authorism expression techniques.

A Study On The Identity Of Yeonsegeuk(Kino-Drama) (연쇄극의 정체성 논의 - 총체예술론적 관점에서 -)

  • Kim, Sunam
    • (The) Research of the performance art and culture
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    • no.25
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    • pp.5-30
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    • 2012
  • I. Identity of Yeonsegeuk as total arts. The purpose of the thesis is to arrange the identy of Yeonsegeuk(Kino-Drama) which is theatre or film. The process of study is tried to discuss on the aethetic of Yeonsegeuk. II. Appearance of Yeonsegeuk and negative disputation of yeonsegeuk The first imported Yeonsegeuk from Japanese in Korea is made by the group of Mizuno Ganggetsu(水野觀月) on Oct. 16. 1915 at Pusan and also to run in Seoul at Hwanggeumgwan. The first of Korean Yeonsegeuk is by Kim, Dosan, a leader of Singeukjwa(theare group) on Oct. 27. 1919 at Danseongsa. Before the liberation of Korea from Japan all made korean Yeonsegeuk are 28 works. III. Dramatic form of Yeonsegeuk I study on the relation between Yeonsegeuik and Sinpageuik(new theatre of modern drama in 1920's). I find that Yeonsegeuik admitted the thechnics of the Sinpageuik and the contents. If We think that the theatre is synthetic art which genealize all arts, we can insist that the Yeonsegeuk is valued the total art as new performance to comply with film art to theatre. Conclusionly Yeonsegeuk is called 'Expanded Theatre' as the new performance which must be dicussed in the view of total art. VI. Discussion on the the aethetic of Yeonsegeuk When we compare the structure of film with the structure of theatre, we can't find a diffrent element between the structure of two art in art semiotic. But we find a fact that film art has special elements in mechanics character which are camera working and motage. These technics influence on the audience's mind. It is different point between Japan and Korean's Kino-drama and Germany's that is to admit the aethetic of total art or not. V. Yeonsegeuk as new performance During Korean modern times Kino-drama was first a kind of total art with stage and screen. But it is regretable that Kino-drama didn't have the background of theory which discourse on the comprehension of total art. As the result Kino-drama bring the confusion of argument that Kino-drama is total art or expanded theatre. This confusion will be disputed on film art as performing arts or future art as expanded film and total art.

Diversity Film for Regional Cultural Industrial Base (지역 문화산업 기반으로서의 다양성영화)

  • Kim, Nayun;Kim, Sangheon
    • Proceedings of the Korea Contents Association Conference
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    • pp.351-352
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    • 2013
  • 다양성은 문화산업의 기반을 풍부하게 해주는 중요한 요소이다. 다양성영화는 비주류, 다문화, 소수, 마니아 적인 성격을 가지고있는 예술영화, 다큐멘터리, 독립영화를 포괄하는 개념이다. 이러한 개념을 바탕으로 하는 다양성영화는 지역의 다양한 소재를 활용하고 다양한 의견을 포괄할 수 있어서 문화적인 풍부함을 이룰 수 있게 하는 근간이 된다. 이 글에서는 다양성영화가 문화산업의 기반 구조를 충실히 하는 중요한 매개가 될 수 있음을 보이고 이를 고찰하였다.

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A Study on Industrial Potential of Artificial Intelligence through the Cases of Film and Artificial Intelligence Art (예술에서 살펴본 인공지능의 미래 산업화 가능성 - 영화와 인공지능 예술을 중심으로)

  • Kim, Hee-Young
    • Cartoon and Animation Studies
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    • pp.423-452
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    • 2018
  • The possibility of future industrialization of artificial intelligence was studied through aspects of artificial intelligence art and movie. The field of artificial intelligence is developing by imitating humans through past and present, so it can be inferred that it is important to grasp the future image presented in movie and artificial intelligence art. Human values are represented differently in artificial intelligence films and arts. Artificial intelligence film and art are concerned with the external and internal aspects of human values, respectively. The AI movie looks at similar external aspects in human and AI shape and function, but artificial intelligence art deals with human alienation and lack of communication due to artificial intelligence technology development. Artificial intelligence in movies is a direction to visualize the imagination for artificial intelligence technology, and artificial intelligence art is expressed in the way of making and implementing works using technology. The future of artificial intelligence, which we have shown in imagination in movies today, is being realized technologically. Artificial intelligence art reflects the problems of artificial intelligence technology that can be appeared through current technology, and human problems that may arise from artificial intelligence technology development. Movies and artificial intelligence art reflect the current problems, and through them we can see the future of artificial intelligence. The future of artificial intelligence in movies is an artificial intelligence service that provides human convenience, cyborg artificial intelligence industry, industry that uses exoskeleton robot and exoskeleton suit, and artificial intelligence secretary. If we look at the future of artificial intelligence through the artificial intelligence art in terms of the problems of artificial intelligence technology and the problem of human value, there are artificial intelligence to learn from trial and error or mistakes, self-expression and communication by lifelogging, recovery of miscommunications by a reflective thinking, and an expansion of the area of artificial intelligence artist through human uncertainty. The future industrialization potential of artificial intelligence as study through aspects of artificial intelligence art and movie is an industry that extends the five senses, an industry that improves the insufficient physical ability of the human, an industry that enhances the physical ability of the human being, and an industry that maintains psychological and mental well-being.

Application of Technology Replication and Film Works - Focused on the Concept of Walter Benjamin - (기술 복제의 응용과 영화 작품 - 발터 벤야민의 개념을 중심으로 -)

  • Chen, Yi Wen;Choi, Won-Ho
    • Proceedings of the Korea Contents Association Conference
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    • pp.241-242
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    • 2019
  • 발터 벤야민은 그의 저서인 '기계복제시대의 예술작품'에서 영화를 인쇄술, 사진술과 같은 기계복제의 예술품으로 묘사하였다. 분명 영화는 복제에 기반을 둔 예술이다. 나아가 21세기에는 컴퓨터 기술이 향상과 함께 컴퓨터그래픽에 대한 의존도는 더욱 높아졌다. 이러한 경향은 영화를 제7의 예술로 추동하는 '놀랄 만한' 효과와 그 영향을 약화시켰다. 바로 벤야민이 기계복제로 인해 우려했던 지점이기도 하다. 하지만 기술의 향성은 부정적 우려와 함께 영화제작의 효율성을 제고하고 있는 것도 사실이다. 이에 연구자는 기계복제에서 나아가 디지털까지 확장된 영화에 대해 연구하고자 한다.

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The Theory of the Image of the "Cinema-novel" in 1920s (1920년대 영화소설의 이미지 텍스트 연구)

  • Kong, Soungsu
    • The Journal of the Korea Contents Association
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    • v.17 no.11
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    • pp.501-514
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    • 2017
  • The 1920s 'cinema-novel' is composed of various media effects based on cinematic imagination, and it is designed to constantly evoke the image of the film during the reading process. This article focuses on 'cinema-novel' as an example of an unprecedented genre experiment. It is because the process of formation and development of this unique genre is filled with contemporary characteristics of the 1920s art that strived to create a content suitable for the modern art medium.

A Study of the Color Correction in Digital Media (디지털 미디어에서 컬러 보정에 대한 연구)

  • Zhang, jia-meng;Kim, Hae Yoon
    • Proceedings of the Korea Contents Association Conference
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    • pp.369-370
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    • 2019
  • "색채"는 디지털 미디어 제작에서 가장 중요한 요소 중 하나이다. 디지털 시대에서 색채의 활용과 처리는 영화의 예술 표현에 직접적인 영향을 미치고, 초기 촬영 소재의 대비도, 밝기, 색채 포화도 면에서의 부족함을 보완하기 위해 또는 색채로 영화의 분위기를 나타내기 위해 영화 후반작업 과정에서 영화에 대해 색채 보정을 진행해야 한다. 본문은 영화에서 색채의 예술적 표현을 분석하고 디지털 색채 보정의 기본 방법을 설명하여, 색채 보정은 디지털 미디어 제작에서 없어서는 안될 작업 프로세스임을 입증하고자 한다.

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Storytelling in Camille Claudel: Combination of sculpture art and video content (「카미유 클로델」의 스토리텔링 : 조각예술과 영상콘텐츠의 결합)

  • Cha, young-sun
    • Proceedings of the Korea Contents Association Conference
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    • pp.361-362
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    • 2016
  • 여기서는 영화 "카미유 클로델"이 어떻게 예술과 영화의 만남 속에서 조각 예술에 대한 이해를 도우며 예술가의 삶을 복원해내는 서사(narration)의 스토리텔링을 하는지 살펴보겠다.

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Movement of Animation through Characteristics of Cinema (영화적 특성을 통한 애니메이션의 운동성)

  • Song, Shi-Hyeong
    • The Journal of the Korea Contents Association
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    • v.14 no.1
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    • pp.48-55
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    • 2014
  • A new relation between technological changes and arts is begins to create by the modernization of the West. Because the arts in the past that were enjoyed by specific individuals and small number of people are now massively produced via technological development, public acceptance of such arts is now possible. In this study, movement between each frame, which can be the core in animation, is investigated. We can see that the animation's cinematic movement cannot be identified with motions reproduced in live action films, let alone the motions in real world, no matter how the reproduced motions in animation are faithfully made. In the end, while crating the detailed expressions of movement of animation, along with cinema factors, and the continuity of such expressions, we can gradually exert the power of animation art form with enlivened reality that only animation has.