現代映畫의 實態와 그 發展傾向 -2次大戰 以後를 中心으로-

金蘇東 세계평화교수협의회 1975 廣場 Vol.31 No.-

映畵의 文學的領域과 言語問題

金蘇東 漢陽大學校 1971 論文集 Vol.4 No.-

Introduction 1. Preface 2. What does montage do on the firm. 3. Scenario and its literary characteristics. 4. Differences between Film and Drama. 5. Film dialogue and language. 6. Conclusion. 1. Preface 1) The film is presented to its audience not in a narrative way throngll a visual, verbal and aural medium. 2) Describe how to be brought to clearness about the similarities and differences between novel and firm. 3) Study in case of novels in to film and filmed novels. 4) The function of color on the screen nay become as important an element in film technique as photography and sound. 2. What does montage do on the film. 1) About the necessity of study to know the literary portion in the cinema and how literature affects on film by researching of the fundamental conception of the film art (L'art Cinematique) 2) Literary expression stimulates one's spritual world as a static condition but visual and verbal montage leads to dynamic. 3) 7he film has acheived as a new art today and the frequently heard view that cinema is not art should be rejected. 4) Comparative study of montage theories. (It is easy to research the contemporary film by comparing the elements of montage each others.) . A. Lef Kuleshov's "The foundation of cinema study" B. V.I. Pudovkin's "Film techinique and film Acting" C. Sergei M. Eisenstein's "Film form and· film sense", "Montage 1939" D. Semion Timoshenko's "Film art and montage" E. Rudolf Arnheim's "Film as Art" F. Bela Balazs's "Kino and socialistic realism" G. Louis Delluc's "Photogenie" H. Leon Moussinac's "Visual Rhythm" (Naissance du Cinema) I . Jean Epstein's "Cine Poem" "Photogenie de L'impondrerable" J . paul Rotha's "The film till now" "The film today" K. Raymond Spottiswoode's "A Gramar of the film" 5) In the film today, it is not the problem to combine shots one by one so as to composc a story line but rather to make every shot relevant to the present age. 3. Scenario and it's literary characteristics. 1) To reconfirm that the film is art enable gives us an easier Ivay to study the literary characteristics of scenario. 2) Drama has been known as a field of literature because it consists of words. In the same way scenario can rise to the level of literature by using verbal medium. 3) Scenario has been recognized as a sort of work diagram for the movie director by a number of people but it should be understood as a 'literature of induction' for the film director's spritual world. 4) How should novels be adapted for the movies? 5) Scenario has a powerful possibility to express its contents more than novel dose because the film art has an image, sound and color, which are real elements of our real life. 4. Differences between Film and Drama 1) Film art has taken on more literary characteristics by having the cinema-turfy since the advent of dialogue with the sound film. 2) To study again the movements of "Film d'art" may be an important reference to clear the relations between film and drama. 3) About the dramatic film and filmic drama. Ex. A. Dramatic film : "Detective story" Henry ling's stage play Directed by william wyler B. Filmic Drama "Henry V" Shakespeare's Drama Directed by Laurence olivier 4) It is an urgent problem how to extract out space and time problem from aim into drama, equally film has to get dialogue and action from stage. 5. film dialogue and language 1) Comparison of talkie film with silent picture. For talkie; "No art can be compared in beauty with reality" -Sergei M. Eisenstein. For silent : "Dialogue narrows the world of the film:' -Rudolf Arnheim. 2) Only language is all in the not·el and in the same way, Image, sound and dialogue are all in the contemporary firm. 3) Dialogues are not only a simple conversation but they have literary characteristics because they are the writer's language as they are his literature. 4) Rhythmic dialogue. An emotion contained in the dialogue stimulates the partner's nerve and makes him respond with emotional speech and excited action. We can find a wonderful rhythm of speech through the continuous exchange of those dialogues between each other. 6. Conclusion 1) Scenario is inevitably composed of two parts of sentences in which we can find dialogue part and the other. As scenario writer regards the dialogue as an important thing so the sentences of the other part also important for him from the viewpoint of literary characteristics at the same specific gravities of whole scenario. 2) Film must increase it's artistic Qualities not only by the literature of dialogue but by the literary characteristics of the whole scenario. 3) Always actors deeply think of dialogue which controls their actions all over the film because action is emotionally connected with language. But sometimes we find that the language expresses diametrically opposite meaning from thinking. Ex. The cases of these; (1) Though he loves her so much but his language means he does not love her. (2) His dialogue is "I'm not sad." but in fact he is weeping in his mind. (3) Some times we make a lie consciously. etc. (4) About Sergei M. Eisenstein's claim : "The intellectual film is the only thing capable of overcoming the discord between the speech of logic and the speech of imagery.", (5) Korean language in the film. (6) As literature attempts (james Joyce) to express the inner processes of thought and emotion, film has to research how to describe the process of the mind visibly.

戰爭史的 側面에서 본 映畵藝術의 平和寄與

김소동 세계평화교수협의회 1976 아카데미論叢 Vol.4 No.1

『이 數年동안 나는 「프로파간다」에 對해서 關心을 가지고 있다. 내 自身이 映畵藝術에 接近한 것은 Propagandist로 서다. 나는 1次大戰에서 하나의 極히 單純한 生覺을 가지고 돌아왔다. 그것은 萬若에 새로운 戰爭을 避하러면 어떠한 方法이건 間에 平和에 對하여 모든 사람에게 關心을 갖게 하는 일이다. 그때부터 나는 「프로파간다」는 이 簡單한 思想 즉 平和에 對하여 關心을 갖게 하는 일에 沒頭하게 되었다』라고, 映畵藝術, 그것이 劇映畵이건 記綠映畵이건 間에 그 內容에 表象된 「프로파간다」的 要素에 依하여 感激的인 說得의 貢默을 볼 수 있다. 「에이젠슈타인」 (S.M. Eisenstein)의 作品 「戰艦포템킨」(Potemkin)은 優秀한 劇的要素를 內包하면서 「프로파간다」的인, 强烈한 記錄的 群衆을 描寫해서 莫重한 說得貢獻을 이룩한 作品이라 하겠다. 그러므로 戰爭史를 通해서 平和에 寄與한 映畵藝術의 時代的 考察을 整理해 보는 것은 貴重한 課題로 思料된다. Grouping user into clusters based on the web documents they have retrieved allows accurate recommendations of new web documents. A variety of algorithms have previously been designed with shortcomings of slow speed or low accuracy. For the purpose of complementing these shortcomings in this paper, we propose CUG algorithm, which is effective user clustering algorithm for collaborative filtering system. CUG algorithm uses Apriori algorithm, Naive Bayes algorithm in order to make clusters for users. Apriori algorithm constructs association word knowledge base, Naive Bayes algorithm adds weight to the association word knowledge base and categorizes web documents retrieved by user into classes. CUG algorithm groups users into clusters based on these web documents. CUG algorithm designed through these methods can be used to improve the efficiency of information retrieval by prefetching documents for the users and storing them in a document database in the system. For the purpose of evaluating performance for CUG algorithm designed in this paper, we compare our algorithm with methods of K-means clustering and Gibbs sampling.

言語가 映像에 미치는 影響과 그 聽覺的 Rhythm에 關한 硏究

金蘇東 漢陽大學校 1972 論文集 Vol.6 No.-

Introduction 1. Preface 2. How language is related to image. (1) Gesture language. (Cinema language) (2) living language (Conversation) 3. How language is Connected with life environment. (1) Episode and it's background (2) Dialogue and it's expression 4. How language is related to rhythm. (1) Conscious expression and it's rhythm (2) Poetry and it's way of expression (3) Poetry and it's rhythmic structure 5. Dialogue and it's aural rhythm. (1) Internal rhythm (2) External rhythm 6. Conclusion (1) The relation between language and image (2) Dialogue and it's aural rhythm 1. Preface 1) To research how language (Conscious Voice) affects on the image (Visible form) is the most important study of film art because the sense organs of a man immediately rush in to the process of recognition when a human emotion and consciousness are communicated. 2) On the screen, action causes some kind of language just as every dialogus is connected directly with some type of action. 3) Language is a conception of recognition and at the same time it should be regarded as an individual human state. 4) Though so many theories about visual rhythm of image have been studied long since, the more important problem of aural rhythm in the conversation has been unsolved so far. 2. How language is related to image. 1) Under an illusive process of recognition, we feel a perfect real life from the presentation of images on the screen, but even if these excellent images present a living life, we can no more keep endurance to appreciate them without language because conversation is an important element of realism. 2) Cinema language Any of highly educated intelligent people of to-day do not desire to understand a theme of film by a suggestion, hint or judgement (by Cinema language) but want to comprehend things rapidly and exactly because he is living in the material civilization surounded with scientific ultra speed, variety of tempo and the complicated rhythm of the age. 3) Conversation An excellent charm of dialogues leads image to give a deep impression upon our mind, by the same way as an intellectual dialogue of modern language makes image to present a realistic emotional sensitivity of modern people. 3. How language is Connected with life environment. 1) Episode and it's back ground A. Sometimes, back ground expresses the more abundant emotion of episode than language. B. It should be remembered that a good piece of artistic film is not determined by how the fact of incident is communicated in detail but, by how it exactly expresses the truth in terms of the reality of background. 2) Dialogue and it's expression The sensuous quality and sharp expression of dialogue with an ability to present a keen state of reality can move our mind to-day 4. How language is related to rhythm. 1) Conscious expression and it's rhythm. A. The universe consists of numberless elements of rhythm and we live among them and are surounded by them. B. Mankind created a language at their will and imitated the rhythm of nature in their language. 2) Poetry and it's way of expression. A. We can find the worth and beauty of language in the visual rhythm (Sentence) of poetry and can hear the charm and music of language from it's aural rhythm. B. An internal rhythm of consciousness and an external rhythm of aural beauty make us not only feel the clear conception of emotion but receive wonderful images in our mind. 5. Dialogue and it's aural rhythm. 1) Internal rhythm. A. Dialogue stimulates the listener's mind psychologically and the listener replies with a stimulant dialogue to the speaker. Such a repetition of exciting dialogues forms a chain of spiritual rhythm. B. Aural rhythm also should be considered in terms of the theory of conflict just as Eisenstein explained his montage of shot as a conflict because the aural rhythm conflict with each other so that it may become an chain of stimulation and becomes a montage of dialogue by the aural rhythm. 2) External rhythm A. As a shot is one of continuous images so dialogue is a short piece of lasting consciousness to create real life. B. The harmonious melodies of 'La traviata formed by the emotional rhythm make us fall in to the sensuous impression, just as the splendid aural rhythm of dialogue does so. 6. Conclusion 1) Soviet theorists had so firm a belief to achieve a film montage by the creation of visual conception and they thought those principles of montage could communicate the whole contents of theme perfectly to the audience, but the montage of shots is still far from the full expression of real living. 2) French theorists wanted to extract a genie or a soul from the suggestion of images composed by the visual rhythm and they endeavored with their confidence to reproduce an human life by the presentation of spiritual photographs and visual rhythm of images, but they couldn't describe the reality of life. 3) Now, in the contemporary film, verbal consciousness has to complete the unity of meaning with the help of images and visual consciousness must be systematized by the supplement of languages for the comprehension of the exact intention of author. 4) The aural rhythm of dialogue is an indispensable element of film art to-day, so anyone hardly feels a real life or our age on the screen without it.

韓国映画資料便覽 (初創期~1976年)

金剛潤(감수),金蘇東(감수),?賢穆(감수),李炳逸(감수),韓瀅模(감수),扈賢贊(감수),黃?彬(감수) 영화진흥위원회 1977 한국영화연감 Vol.1977 No.-

1979年度版 韓國映画年鑑

金蘇東,李英一,金奎東,?仁植,鄭用琢,兪賢穆,盧載昇,林英 영화진흥위원회 1980 한국영화연감 Vol.- No.3

作品과 그 印像에 關한 硏究

金蘇東(Kim So-dong) 한국영화학회 1974 영화연구 Vol.- No.1

1978年度版 韓國映画年鑑

金蘇東,李英一,林英,邊仁植,金戊鉉,兪賢穆,盧載昇,朴明珍 영화진흥위원회 1979 한국영화연감 Vol.- No.2

영화는 오락 아닌 첨단과학예술

金蘇東,鄭一夢 세계평화교수협의회 1984 廣場 Vol.1984 No.129

戦争史의 側面에서 본 映画芸術의 平和寄与

金蘇東(KIM So Dong) 한국영화학회 1978 영화연구 Vol.- No.2