• Title, Summary, Keyword: 형식미학

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Meaning of 'Labor' and Aesthetic in Dardenne Brothers' Films (다르덴 형제 영화에서 '노동'의 의미와 형식미학)

  • Ahn, Soong-Beum
    • The Journal of the Korea Contents Association
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    • v.12 no.9
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    • pp.93-105
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    • 2012
  • Dardenne brothers' films deals with minorities' issues who are shoved out to periphery of society, and especially takes interest in value-deprived human life in labor market of today. This study examines such social awareness of Dardenne brothers targeting their latest works awarded in Cannes Film Festival, , , , , . And analysis is attempted about Dardenne brothers' unique formal aesthetical style that exactly captures such social awareness. In Dardenne brothers' films a person shows up who faces abject matter of living. Their agony is closely connected to unemployment, and shows images of irresistible anxiety and alienation. Dardenne brothers' images are not only simple platform with contents embodied, but designed form showing essential thematic consciousness. Location and gaze, motion of camera capturing a character makes us to reflect the situation a character is facing in the world. There are almost no regard about plots, no dramatic devices, superficial and even straightforward, but Dardenne brothers' films have such independent formal aesthetic, which makes able to give endless tension.

Between Aesthetics of Feeling and Absolute Music - Schopenhauer's Philosophy of Music - (쇼펜하우어의 음악철학 - 감정미학과 절대음악 사이 -)

  • Hong, Sa-hyeon
    • Journal of Korean Philosophical Society
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    • v.139
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    • pp.265-313
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    • 2016
  • This research aims to reconstruct the philosophical content and essence of Schopenhauer's metaphysics of music in his book, Die Welt als Wille und Vorstellung, particularly in paragraph 52, and to pay close attention to its theoretical account of music in the context of traditional musical aesthetics. The question whether Schopenhauer's theory of music is about aesthetics of feeling or about absolute music is dealt with at the end of this paper. It can be answered only within the whole system of his philosophy, because Schopenhauer's theory of music is the result of his philosophical reflections, and plays an important part in his metaphysics of the will. Schopenhauer's music theory, or rather his metaphysics of music, thus cannot be treated separately from Schopenhauer's metaphysics of the will, and is connected organically with it. As the metaphysics of the will lies in suspense between the traditional metaphysical philosophy and the non-metaphysical philosophy after Nietzsche, between the idealism and the philosophy of the body, the music aesthetics of Schopenhauer oscillates between the (romantic) aesthetics of feeling and the modern idea of absolute music.

Zwei Perspektiven für die Kunst - Kants Ästhethik des Empfangenden und Nietzsches Physiologie der Kunst - (예술에 대한 두 가지 태도 - 칸트의 수용미학과 니체의 예술생리학 -)

  • Chung, Nak-rim
    • Journal of Korean Philosophical Society
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    • v.130
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    • pp.277-304
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    • 2014
  • Der vorliegende Beitrag zielt darauft ab, zwei Perspektiven $f{\ddot{u}}r$ die Kunst bei Kant und Nietzsche und ihre Schlussfolgerungen zu $er{\ddot{o}}rtern$. Kants Kritik der Urteilskraft hat eine enorme Rolle in der Geschichte der ${\ddot{A}}sthetik$ gespielt. $F{\ddot{u}}r$ Kant sollen ${\ddot{a}}sthetische$ Urteile ebenso wie Erkenntnis- und Moralurteile $allgemeing{\ddot{u}}ltig$ sein, obwohl sie auf einem $pers{\ddot{o}}nlichen$ Geschmack beruhen. Die $Allgemeing{\ddot{u}}ltigkeit$ des $Sch{\ddot{o}}nen$ sei $m{\ddot{o}}glich$, weil sie nicht auf dem Gegenstand, sondern auf dem transzendentalen Subjekt basiere. Die $sch{\ddot{o}}ne$ Kunst als Kunst des Genies soll uns wie die $Natursch{\ddot{o}}nheit$ ohne Interesse wohlgefallen. Nietzsches Stellungnahme zu Kants ${\ddot{A}}sthetik$ ist sehr kritisch. Nietzsches erster Kritikpunkt richtet sich gegen das 'interesselose Wohlgefallen'. Gegen Kant behauptet Nietzsche, dass die $Sch{\ddot{o}}nheit$ sehr wohl mit Interesse verbunden ist. Grund $daf{\ddot{u}}r$ ist, dass das $Sch{\ddot{o}}ne$ wesentlich aus dem Willen zur Macht entspringt. Der zweite Kritikpunk Nietzsches liegt darin, dass in Kants ${\ddot{A}}sthetik$ die Moral im Vordergrund steht. Das $Sch{\ddot{o}}ne$ ist $f{\ddot{u}}r$ Kant durch die Moral gerechtfertigt. Nietzsche dreht diese Stellung der Moral zur Kunst um. Der dritte Kritikpunkt Nietzsches ist, dass Kant statt von der Erfahrung des $K{\ddot{u}}nstlers$ (Schaffenden) aus das ${\ddot{a}}sthetische$ Problem zu betrachten, allein vom Zuschauer (Empfangenden) aus ${\ddot{u}}ber$ die Kunst und das $Sch{\ddot{o}}ne$ nachgedacht habe. $F{\ddot{u}}r$ Nietzsche ist die Kunst $prim{\ddot{a}}r$ vom $K{\ddot{u}}nstler$ aus zu verstehen. Nietzsches Physiologie der Kunst ist mit dem Begriff 'Leib' $verkn{\ddot{u}}pft$, d.h. Nietzsche behauptet, dass physiologische und ${\ddot{a}}sthetische$ Prozesse wesentlich $zusammenh{\ddot{a}}ngen$. Die Schlussfolgerung der Physiologie der Kunst lautet: erstens, jeder Mensch ist $K{\ddot{u}}nstler$, sofern er schaffend ist, und zweitens, die Welt selbst ist nichts als Kunst. Nietzsches Physiologie der Kunst hat einen $gro{\ss}en$ Einfluss auf die $gegenw{\ddot{a}}rtige$ Kunst $ausge{\ddot{u}}bt$ und kein anderer Philosoph hat auf die $gegenw{\ddot{a}}rtige$ Kunst nachaltiger gewirkt.

Hayao Miyazaki's Animation Storytelling: Aesthetics of Confrontation and Coexistence Represented in the Mythical Space (미야자키 하야오의 애니메이션 스토리텔링: 신화적 공간에 나타나는 대립과 공존 의 미학)

  • Oh, Dong-Il
    • Journal of Digital Contents Society
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    • v.18 no.4
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    • pp.649-657
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    • 2017
  • Hayao Miyazaki provides pleasure which go beyond the barrier of culture and language through realizing pan-cultural and mythical space which can communicate with the audience through unique, aesthetic expression. In his animation storytelling, diverse tangible and intangible symbolic elements based on the traditional culture inherent to Japan are actively utilized, and he provides the audience with the aesthetic pleasure of arbitrary interpretation and contemplation by composing the system of connotative signification through such symbols. In this process, he creates the value of the system of meaning which clearly conveys the mythical message of connotative meaning of the work through the aesthetic form based on the universal experience of confrontation and coexistence. It can be said that this is the communicative value of animation storytelling pursued by Hayao.

Boundary between Human and Humanism Constructed by Formalism Film <Dogville> (형식주의 영화 <Dogville>이 구성하는 인간과 인간다움의 경계)

  • Kang, Seung-Mook
    • The Journal of the Korea Contents Association
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    • v.9 no.12
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    • pp.138-145
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    • 2009
  • Humanism connotes dignity and esteem with the essential idea of human and more human. This paper has conducted a inquiry of the understanding about human and humanism represented by visual image of film. Especially, this study investigated the way to adhere to reflective attitude about human and society. It is based on theoretical discussion of formalism and auteurism and analyzed the way of constructing time-space structure of (by Lars von Trier) which is known the typical formalism film. According to the findings, appeared to appropriate the ocularcentrism aesthetic to film form and give the self-regulation to definite the idea of film art through picturesque imagination of dramatic stage. Such a result means that it converts the filmic time-space to the virtual things and practicalize the classification of the ethical doctrine of innate goodness and innate sin of human and the definition of humanism. Also it means formalism film overturns the existing institutional mode of representation.

Agnès Varda's Vagabond and Aesthetic (아네스 바르다의 <방랑자>와 형식적 실험)

  • Kim, Sook-Hyun
    • The Journal of the Korea Contents Association
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    • v.13 no.2
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    • pp.100-107
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    • 2013
  • Agn$\grave{e}$s Varda is a French representative female film director. In particular, the method combining subjectivity and objectivity is the most outstanding characteristics. However, it can be said that the method to support this is not only theme of the film but also creation of structure including the exploration for the filmic form different from classical film form. Such an approach accords with No$\ddot{e}$l Burch's refined analysis of filmic form. Therefore, This study aims to aesthetical analysis of the form of producing the structure in modern movies through which is one of the representative work by Agn$\grave{e}$sVarda and won the Golden Lion award in 1985 Venice Film Festival. The theme of the film, the recovery of relationships among people and contacts through the tragic death of drifting life, created a new filmic structure by formative experiment of the film. The formative experiment is the fragmented and repetitive construction with the introductory voice-over, and consists of movement and editing of camera and specific use of flashback and sound through the representation of figures and situations, mixture of narrative and non-narrative style.

Structuralization of CGI Visual Format for Digital Cinema and Digital Animation -Focused on Film - (디지털시네마와 디지털애니메이션을 위한 CGI 시각형식 구조화 -영화<정글북>을 중심으로-)

  • Yu, Hyoung-Jun
    • The Journal of the Korea Contents Association
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    • v.17 no.7
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    • pp.22-30
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    • 2017
  • CGI not only performed a crucial role to make cinema and animation evolved into digital cinema and digital animation but also CGI, an important visual format, settled realism-centric spectacle image culture in public commercial cinema and animation. The fact that CGI visual format could be structuralized in three different view points is discovered through Iconicity, photorealism, verisimilitude, uncanny valley, hyperrealism, and spectacular realism discourse research which explain image culture. First, a formative viewpoint that comes up in an iconic difference between drawing and photograph. Secondly, a cognitive viewpoint that sees visually perceived naturalness and abnormality as a realistic probability issue. Lastly, a customary viewpoint which is rooted in aesthetic tradition of cinema and animation. After that, the features of CGI which is used in the movie 'jungle book'(2016) were analyzed using the structured visual format. Consequently, this movie has hyper-realistic photographic iconicity on the base of realistic probability. Also, by following image-aesthetic convention which uses overstated and amplified narrative as a visual format, at the same time, the movie also has sufficient image-aesthetic convention in animation by personified animal character.

The Aesthetics of Death of Works of Comtemporary Art (현대 예술 작품에 나타난 죽음의 미학)

  • Wang, Xin-yu;Kim, Hyun-joo;Youn, Ji-young
    • Journal of Digital Convergence
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    • v.18 no.4
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    • pp.439-451
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    • 2020
  • In order to deeply understand the significance of death aesthetics in contemporary art, this research first summarizes the development process of death aesthetics in art works with popular perspectives, and then classifies and discusses death aesthetics in modern art works. The results of this study are as follows: First, the aesthetic expressions of death are divided into two types: death reproducibility and death symbolism. Death reproducibility includes reproducibility of real objects and reproducibility of imaginary objects. The symbolism of death can be divided into external and internal manifestations. Secondly, in contemporary art, the reproducibility of death through the description of death scenes has increased the various problems and philosophical significance caused by death. Third, in contemporary art, the symbolism meaning of death is not just something directly related to death, it also shows the various psychological states brought about by death. Subsequent research will promote the artists' visual expression of the aesthetics of death in artworks, and the profound changes in meaning that result from it.

Media-Aesthetical approach to the Computer-based Layer (컴퓨터 기반의 레이어(layer)에 대한 매체미학적 분석)

  • 이병주
    • Archives of design research
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    • v.17 no.2
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    • pp.471-478
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    • 2004
  • The recent aesthetical argument has been focusing on the interrelation between art and media. Now media is a kind of creative activity and dynamic factor which comprises aesthetic perception in itself compared to that of the past linear thingking era that was just a means of proving presence. Norbert Bolz, a leading media-aesthetician, puts the emphasis on the transformation of image, not the its dupe. He urges that this artistic form does not deliver the image of object, but means the objectless image itself. Therefore creativity is caused by an effect of a optional technic in the stage of technological environment where is under the control of the non-linear thingking system. In this context, this essay investigates to confirm the above mentioned aestheical views by analyzing the computer based layer as an detailed example, and to illuminate the designers creative activity where is deemed to be under its radical influence. Therefore it can be dedicated to the extension of the theoretical background in design, bridging between two practices accor ding to the Bolz's notion that the new aesthetical concept should be accompanied by ' the Design Science ', that is centered on the new media.

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