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수록범위 : 1권0호(2004)~15권0호(2018) |수록논문 수 : 200
디지털영상학술지
15권0호(2018년 12월) 수록논문
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KCI후보

1한류 로맨스 드라마 캐릭터와 재자가인(才子佳人) 비교연구 : <태양의 후예> 캐릭터를 중심으로

저자 : 김공숙 ( Kim Gong-sook )

발행기관 : 한국디지털영상학회 간행물 : 디지털영상학술지 15권 0호 발행 연도 : 2018 페이지 : pp. 7-44 (38 pages)

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This study is interested in the charming characters of Korean TV romance drama, which has been popular in China, and the characters of narrative tradition familiar to Chinese people. I compared four characters of the male and female characters in the The Descendants of the Sun to the figures of characters in the Chinese novels about talented men and beautiful women(Caizijiaren novels).
The scope of the study of Caizijiaren is based on the character figure of the novelist who has the genre type established in the Qing Dynasty of China. As necessary, the qualities of the patrons of the previous era were also applied to the debate. The Descendants of the Sun introduces the romance of the male and female protagonist and the male and female assistants side by side so that the two couples are confronted with each other's values and occupations, and the conflicts form a three-dimensional relationship.
The male and female protagonists have changed the motif of the novel. In the case of the male and female supporting characters, the prototype of the novel is faithfully reproduced. The Jiaren changed the composition superior to the Caizi and set up the male and female characters Yoo Se-jin and Kang Mo-yeon on equal footing. All of Caizijiaren is a noble status, and drama has established sympathy for viewers by setting the main character as a common family member who can be seen in the surrounding area. In male and female supporting, overcoming Cinderella composition, woman is strong and man is weak. The appearance of a tough modern Jiaren appears to female characters. Caizi reveals the ideal values of the patriotic soldiers and reproduces the customary white horse prince of the romance drama by the action of the superhero.
Through this study, it was confirmed that the relationship between drama characters is dynamically implemented in terms of representation and transformation of the figure of self. It is expected that this study will be provided as a clue to recognize the importance of the internal factors of the successful drama contents to the drama creative subjects in the broadcasting environment of the rapidly changing Korean TV drama.

KCI후보

221세기 한국사회의 집단적 허무주의 : 남성 복수영화의 재현 양상에서 드러나는 변화를 중심으로

저자 : 김정선 ( Kim Jung Sun )

발행기관 : 한국디지털영상학회 간행물 : 디지털영상학술지 15권 0호 발행 연도 : 2018 페이지 : pp. 45-75 (31 pages)

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The revenge film that disappeared in Korea for a while reappeared in the early 2000s and has been in its heyday for 15 years. Contemporary revenge films have appeared in a variety of forms over time, and the mainstream in that trend are in two categories. One is the tragic violent revenge films that appeared in the early 2000s. Films in this category steadily maintains the longest trend. The other is the films of happy endings that have appeared since 2015. There are not many films in this category, which are just blooming. However, the enthusiastic response of the audience to the films in this category tells us that these films are the mainstream trend responding to the collective psychology of the time. The purpose of this article is to examine the differences revealed by the films of these two categories and to see what the differences tell us about the collective consciousness of Korean society.
In Chapter 2, we examine what the roots of the charm of revenge drama are, what their actual sources are, and how the present situation of Korean society is involved here. In chapters 3 and 4, we analyze the tragic revenge films of the early 2000s and the happy ending revenge films since 2015 in detail, and in doing so, see how the differences found in the categories are related to the collective consciousness of Korean society. The films of the early 2000s reveals the tragic necessity that operates doubly both in the social structural dimension and in the demension of the subject of revenge, and it expresses the irrationality of the social system that members of Korean society senses while experiencing the neoliberal social system and their collective rage against it.
In contrast, the happy ending revenge films since 2015 unfold the story in which a meticulous and sophisticated man succeeds in revenge legitimately by reversing the mechanisms of the power group. This new aspect of the revenge films reflects the psychology of the members of society who have lost the power to face reality while experiencing a series of terrible situations in the 2010s. The collective consciousness of the contemporary society revealed through the modes of representation of these films reflects the collective psychology of Korean society becoming more dark and lethargic than the early 2000s, where nihilism is deepening.

KCI후보

3<신서유기: 몽키킹의 부활>에 드러난 영웅이야기에 관한 연구

저자 : 류강적 ( Liu Kangdi ) , 이승진 ( Lee Sungjin ) , 서한풍 ( Xu Hanfeng )

발행기관 : 한국디지털영상학회 간행물 : 디지털영상학술지 15권 0호 발행 연도 : 2018 페이지 : pp. 77-95 (19 pages)

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As of January 2018, Chinese animation the return of the great sage has become a dark horse of Chinese domestic animation with box office revenue of 161 billion won. After the release of Monkey King: Hero Is Back, the audience received rave reviews, which is a rare bona-fide of Chinese animation in recent years.
Chinese animation the return of the great sage changes the narrative mode of the great sage animation story in the past, penetrates into the personal psychological level of the great sage, and makes an important elaboration on the loss of hero identity to the recovery.
This animation decomposes and reconstructs the story mode and context of the original novel journey to the west. In terms of narrative theme, it also gives a new interpretation of the familiar story prototype under different historical backgrounds, thus reflecting the understanding and appeal of the new era. This paper will analyze and study the return of the great sage of journey to the west from the perspective of animation and hero narration of journey to the west. It also provides inspiration and creative direction for other filmmakers to treat literary adaptation films.

KCI후보

4융복합 기술을 활용한 디지털 문화유산 콘텐츠 개발에 관한 연구 : 차세대 홀로그램 기술을 중심으로

저자 : 염준영 ( Yeom Jun Young )

발행기관 : 한국디지털영상학회 간행물 : 디지털영상학술지 15권 0호 발행 연도 : 2018 페이지 : pp. 97-114 (18 pages)

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Cultural heritages represent everything cultural in the world. The digital revolution, which was developed in earnest in the 1990s, is also different in terms of preservation and utilization of traditional cultural assets. On the one hand, in the midst of growing interest in cultural heritage and the development of digital technology, many studies have been conducted at home and abroad to digitally preserve and restore cultural heritage using digital technology.
It analyzed how digital convergence contents were applied using 3D production technology through next-generation technologies such as virtual reality, augmented reality, and hologram, and used this analysis to examine changes in visual symbols, language, and visual representation.
This study made it clear that various efforts are needed to promote the continued preservation and industrial use of digital cultural assets. The most important issue of digital cultural heritage should first be approached 'in terms of preservation of the digital convergence technology that is completely different from the analog information of existing actual cultural assets'. Next, from a functional level, the "accessibility" of cultural heritage information that has not been easily accessed until now is expanded to future time and global space level. By analyzing how to recreate or recreate cultural assets at home and abroad, the primary goal was to explore the possibility that digital media would creatively inherit and develop traditional cultural heritage. In addition, we will combine existing scientific experiments and theoretical studies to analyse new technical authors and examples with theoretical basis for the restoration of digital cultural heritage.
This paper confirms that the concept of cultural heritage and the convergence of digital restoration technologies are the driving force behind the evolution of digital technology and changes in media environment to recreate traditional cultural heritage. The development of digital technology will serve as a driving force to expand the spirit and vitality of traditional culture.

KCI후보

5디지털 영상의 멀티패스 합성 연구

저자 : 이영헌 ( Lee Young Hun )

발행기관 : 한국디지털영상학회 간행물 : 디지털영상학술지 15권 0호 발행 연도 : 2018 페이지 : pp. 115-131 (17 pages)

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This study investigated multipass compositing for post-production of digital film and video. The introduction described the background of the study and its purpose and method of study, and the main theory was divided into two sections. The first chapter is about Matte and Blending Mode, which must be accompanied by a necessary process for multipass creation and compositing. Matte is a concept such as an alpha channel, and Blending Mode uses each mode to create a new image based on a mathematical formula to compose two or more images. Multiple passes can be divided into many different passes, but in this study, there are eight different passes: Specular Pass, Diffuse Pass, Ambient Occlusion Pass, Reflection Pass, Reflection Pass, Global Illumination Pass, Ambient Pass, Depth Pass. Most of these passes are closely related to lighting. The specific pass, the Diffuse Pass, the Reflect Pass, and the Refraction Pass are passes made in the path of light. The Ambient Occlusion Pass and the Global Illumination Pass are the passes that enhance the real feeling by expressing the dark and indirect phenomena occurring between closely related objects. The Depth Pass adds the depth of filed to the pass that expresses the depth of camera. For the efficient production of digital films and videos, the characteristics of multipass should be identified and used.

KCI후보

6지역영화인 근로환경과 지역영화정책의 방향성 : 2017 지역영화인 근로환경 실태조사를 바탕으로

저자 : 전병원 ( Jeon Byoung Won )

발행기관 : 한국디지털영상학회 간행물 : 디지털영상학술지 15권 0호 발행 연도 : 2018 페이지 : pp. 133-162 (30 pages)

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The working conditions and the environment of local filmmakers are seriously unbalanced within the Korean film industry centered in Seoul. 75.8% of local filmmakers are not paid minimum wage. 61.6% of local film staff are not insured(Korea's Four Major Social Security Insurance).
Local filmmakers don't benefit from social safety net as workers. This serious imbalance is also due to the fact that 'local film can not be established as an industry.
Korea's regional film policy is in the turning point of the policy paradigm. Policy themes 'local film' and 'local film' should be transformed into policy frames and created as the main agent in the film industry from film culture recipients, consumers of the film industry to film industry and creation. The environment base of the local film industry should be established. We should consider 'local film as an industry policy.
Therefore, the working conditions and environment of local filmmakers should also be a major part of the local film policy.

KCI후보

7마야 데렌의 챔버 필름 연구

저자 : 허은희 ( Huh Eun Hee )

발행기관 : 한국디지털영상학회 간행물 : 디지털영상학술지 15권 0호 발행 연도 : 2018 페이지 : pp. 163-182 (20 pages)

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Chamber film is the last concept to define Mara Deren's films created from 1943 to the year of her death, to contain the essence of all the previous terms she used to describe her films. Therefore, to study 'Chamber film' could show the effective way to discuss about all kinds movies which has been called 'Independent film', 'Short film', 'Experimental film', 'Art movies', differentiated from commercial films.
The 'chamber' of 'chamber film' means the space to represent the stage of protagonist's mental states. And it connects Deren's films as the result of chain reaction between a place to another one. The chamber is also the background of films and screening place to watch the chamber films like 'home movies', to display rooms, living rooms, and corridor. Most of all, the 'chamber film', as a form analogous to chamber music performed by a few musicians, is the new typology of film to be independent from the Hollywood system with massive budgets, monstrous personnel, etc.
For that reason. the 'chamber film' is closer to the craft art of communication between a film-maker as the first creator to design a 'artificial reality' in the movie and audiences as the last creator to experience it. In this artificial whole, the experimental images help the audience to share the protagonist's psychological journey, and to discover a critical attitude toward the irrationality of the society. This is the main purpose of chamber films, 'the creative result from the combination of material and reality made by human beings', and Deren tried to lay the foundations of an art that is challenging and engaging, universal and for everyone.

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