비-극장 관람의 인터페이스 효과와 주체성 넷플릭스의 ‘시네매치’ 시스템

문재철,김용진 한국애니메이션학회 2024 애니메이션연구 Vol.20 No.1

본연구는 넷플릭스의 경우를 사례로 OTT 등 극장이 아닌 플랫폼에서 이루어지는 영화 관람의 특성을 인터페이스 효과를 중심으로 고찰하였다. 넷플릭스의 영화 추천 시스템은 새로운 관객 주체성을 형성하는데, 극장에서 영화를 관람하는 것과 차이가 나는 것은 두 가지다. 첫째, 영화와 맺는 관계가 변했다. 오늘날 관객은 개별 영화와 관계를 맺는 것이 아니라 ‘데이터 공간’과 관계를 맺는다. 둘째 관객의 심리적 측면에서의 변화다. 과거의 ‘영화 관객은 영화에 대해 히스테리적으로 욕망하면서 그 영화를 의심했지만 넷플릭스의 ‘데이터 유저’는 그러한 의심을 부인한다. 이는 일종의 물신주의다. 이러한 물신적 특성을 지닌 넷플릭스의 관객 주체성은후기 자본주의의 도착적 특성을 나타내 주는 알레고리라고 할 수 있다. 그리고 이러한 변화에 대해 다수의 이론가들은 오늘날 디지털 문화에서 유토피아에 대한 욕망이 더 이상 불가능함을 말해 주는 것이라고 본다. 대신 충동이 지배적인 것이 되었다고 본다. 하지만 오늘날 디지털 문화 전반이 충동에 지배되는 경향을 지니고 있음에반해, OTT에서의 영화 경험은 충동에 지배되기보다는 여전히 유토피아적인 욕망을 지니고 있다. OTT를 비롯한 새로운 영화 관람에는 집단적 유토피아의 상실과 이러한 상실을 부인하려는 경향이 경합하고 있는 것이다. Using the case of Netflix as an example, this study examined the characteristics of movie viewing on platforms other than theaters, such as OTT, focusing on the interface effect. Netflix's movie recommendation system creates a new 'audience- subjectivity', but there are two differences from watching a movie in a theater. First, our relationship with cinema has changed. Today, audiences do not have a relationship with individual films, but with a ‘data space.’ Second, it is a change in the psychological aspect of the audience. In the past, ‘film spectators hysterically lusted after films and were suspicious of the films, but Netflix’s ‘data users’ deny such doubts. This is a kind of fetishism. Netflix's audience-subjectivity with these fetishistic characteristics can be said to be an allegory representing the perverse characteristics of late capitalism. And many theorists believe that this change shows that the desire for utopia is no longer possible in today's digital culture. Instead, I think drive has become dominant. However, while today's overall digital culture tends to be dominated by drive, the movie experience on OTT still has a utopian desire rather than being dominated by drive. In new movie viewing, including OTT, there is a conflict between the loss of collective utopia and the tendency to deny this loss.

Clinical Evidence and Mechanisms of High-Protein Diet-Induced Weight Loss

문재철,고관표 대한비만학회 2020 The Korean journal of obesity Vol.29 No.3

Several clinical trials have found that consuming more protein than the recommended dietary allowance not only reduces body weight (BW), but also enhances body composition by decreasing fat mass while preserving fat-free mass (FFM) in both low-calorie and standard-calorie diets. Fairly long-term clinical trials of 6–12 months reported that a high-protein diet (HPD) provides weight-loss effects and can prevent weight regain after weight loss. HPD has not been reported to have adverse effects on health in terms of bone density or renal function in healthy adults. Among gut-derived hormones, glucagon-like peptide-1, cholecystokinin, and peptide tyrosine-tyrosine reduce appetite, while ghrelin enhances appetite. HPD increases these anorexigenic hormone levels while decreasing orexigenic hormone levels, resulting in increased satiety signaling and, eventually, reduced food intake. Additionally, elevated diet-induced thermogenesis (DIT), increased blood amino acid concentration, increased hepatic gluconeogenesis, and increased ketogenesis caused by higher dietary protein contribute to increased satiety. The mechanism by which HPD increases energy expenditure involves two aspects: first, proteins have a markedly higher DIT than carbohydrates and fats. Second, protein intake prevents a decrease in FFM, which helps maintain resting energy expenditure despite weight loss. In conclusion, HPD is an effective and safe tool for weight reduction that can prevent obesity and obesity-related diseases. However, long-term clinical trials spanning more than 12 months should be conducted to further substantiate HPD effects.

과거를 애도하기, 판타지로서의 민족영화

문재철 영상예술학회 2002 영상예술연구 Vol.0 No.02

향수영화에 나타난 남성과 여성

문재철 한국영화학회 2001 영화연구 Vol.- No.16

This thesis considers nostalgia film. Nostalgia is affect of returning to lost home, and to past. The important character in nostalgia film is description of man and woman. In that films, woman is represented as an object of return, while man is eager to reunify woman. And while man is represented in symbol of past, man is represent as present. The other character of nostalgia film is emotion of loss. the emotion is result of crisis of masculinity. In contemporary society man is deprived of power of authority, woman is challenging to man. As a result, man's emotion of powerless cause film to compensate man by nostalgia. For example, music is indemnify man's loss. And lyric image is too. But the nostalgia may be hysteria. The hysteria is conversion of feeling that man is deserted by history. For woman, hysteria is expression of frustrated desire in patriarchal system. Melodrama often treat that hysteria in figure of excess. Then excess is asymptom of hysteria. Man's hysteria is expressed in violence. Violence is suppressed feeling of man. Man should conceal his own emotion such as a tear, a sigh, etc. Above all, nostalgia should be restrained, because man is hard and strong existence. Man is too strong to be express his nostalgia. As a result the nostalgia is change to hysteria. Also nostalgia is uncanny. Uncanny is due to oppression of infantile experience which consist of man's hereafter life. If nostalgia is toward mother who have given infant satisfaction, that is familiar. But Nostalgia is fearful because of threat of castration. Mother as woman evokes absence of phallus. Accordingly, as uncanny is double emotion that consists of familiar and strange, so nostalgia is. Nostalgia may be symptom of regression. And that is condition of postmodern society. Refutation of history, escape from suffering of time, and halt of maturity is main trend of contemporary. Along with that atmosphere nostalgia is inscribed into sexual difference. In nostalgia film, gender is operated and is set up according to patriarchal system.

과거를 애도하기, 판타지로서의 민족영화

문재철 영상예술학회 2002 영상예술연구 Vol.2 No.-

현대 한국영화의 폭력 재현에 대한 연구 - 승화의 위기와 폭력의 충동성

문재철 영상예술학회 2006 영상예술연구 Vol.0 No.9

변화된 시간성과 대중의 정서:뉴웨이브 이후의 영화에 나타난 과거의 이미지

문재철 대중서사학회 2003 대중서사연구 Vol.9 No.2

3D 컴퓨터애니메이션의 디지털 이미지에 대한 연구

문재철 한국만화애니메이션학회 2003 만화애니메이션연구 Vol.- No.7

현대 한국영화의 폭력 재현에 대한 연구 : 승화의 위기와 폭력의 충동성

문재철 영상예술학회 2006 영상예술연구 Vol.9 No.-

1930년대 중반 조선 영화 미학의 변화에 대한 연구

문재철 영상예술학회 2007 영상예술연구 Vol.10 No.-

1930년대 중반을 전후로 조선영화의 미학은 변화를 겪기 시작한다. 나운규의 <아리랑>(1927)으로 대표되는 무성영화의 미학은 행동 이미지에 중점을 두며 감정의 처리도 절제보다는 분출에 가까웠다. 이에 반해 1932년 제작된 이규환의 <임자 없는 나룻배>는 그와는 구분되는 새로운 경향을 보여준다. 향토적 서정성의 시작이라 여겨지는 이 영화는 절제된 시적 서정과 뛰어난 시네마토그래피로 이후 조선영화의 미학을 선취하고 있었다. 이러한 미학의 변화는 이 시기에 이르러 일어난 세대교체와 사운드의 도입이라는 산업적 조건의 변화가 크게 영향을 미친 결과이지만 그러나 이는 영화에 대한 사유와 인식의 틀이 변화하고 있었음을 말해준다. 지식인 출신의 새로운 감독들은 이전 1920년대 조선영화의 대중적 특성과 비판적으로 절연하기 위해 문학적인 것과의 적극적으로 교섭 했으며 이른바 내용적인 것, 혹은 정신적인 것이 도입을 통해 조선영화를 예술영화로 전화시켜내고자 하였다. 이 과정에서 특징적으로 출현하는 것이 향토적 서정성이다. 향토적 서정성은 영화이미지의 묘사능력의 획득을 전제로 하는 것으로 또한 타자성의 인식을 토대로 하고 있다. 일본 유학파 출신의 이 새로운 영화인들은 탈조선적인 시선을 도입함으로써 조선의 풍경을 발견했고 타자성에의 대면에서 빚어지는 정서적 위기가 대상에 대한 서정적 인식으로 이어졌다. For Chosun film, the mid-1930s is era of new change. First of all there was the emergence of talkies. Sound film transformed the Chosun film scene and its central production system. Secondly there was rapid generation shift. New group of directors had a critical attitude towards the old generation. In this circumstance the aesthetics of film was moved into more sound film style. The style of silent film was based on action image and direct appeal to spectator's emotion. The dominant was montage. But new films showed special style and feature. For example, these are Arirang(1927, Na Woon-gyu) and A Ferry Boat that Has No Owner (1932, Lee Gyu-Whan). These films were full of lyricism and local scenery. Also acting was very slow and emotion was full of female mood and lyricism. Special devices were used to express this emotion, for example photog챕nie and mise-챕n-scene. But these new aesthetics of film was not only change of film style but also change of way of thinking about film. Also the idea of art cinema was built. Specially interchange between cinema and literature was very lively, that exchange affected on the building of idea of art cinema. The other hand, most of directors shared common feeling. They went to school in japan or studied in Japan. So they may have felt a sense of alienation. And recognition of otherness may have been a main condition of that change of aesthetics and building of a way of thinking. For example the discovery of local scene was possible from that feeling of estrangement. That is, they found the local spectacle to express the mind of estrangement. In this process, descriptive image and understanding of technology was demanded and they achieved a master of that technique.