사랑을 일깨우는 "물" - 장 비고의 영화<라탈랑트>

이주봉,Lee, Ju-Bong 한국하천협회 2011 하천과 문화 Vol.7 No.1

백서의 연령증가가 구강점막에 미치는 영향에 관한 생화학적 연구

이주봉,Lee, Joo-Bong 대한치주과학회 1972 Journal of Periodontal & Implant Science Vol.2 No.1

영화매체에 나타난 축구월드컵과 독일 사회의 변화 양상 -죈케 보르트만의 영화 <베른의 기적>을 중심으로

이주봉 ( Ju Bong Lee ) 한국독일언어문학회(구 독일언어문학연구회) 2010 독일언어문학 Vol.0 No.47

문학 : <롤라 런> 이후 독일영화에서의 패러다임 변화

이주봉 ( Ju Bong Lee ) 한국독일어문학회 2007 독일어문학 Vol.37 No.-

현대 예술 및 문화 : 독일 사회 속 축구월드컵과 문화정체성 -다큐멘터리 영화 <독일, 여름동화>와 2006년 월드컵 국면 언론 보도를 통해 본 독일 사회의 민족주의적 태도 연구

이주봉 ( Ju Bong Lee ) 한국브레히트학회 2012 브레히트와 현대연극 Vol.0 No.26

Der Erfolg der deutschen Nationalmannschaft bei der Fußballweltmeisterschaft im eigenen Land 2006 war unerwartet und seine Wirkung war enorm. Er reichte uber den sportlichen Bereich hinaus und hatte große Auswirkungen auf gesellschaftlichem und kulturellem Gebiet. Die deutschen Fans identifizierten sich wahrend des Turniers mit der Nationalmannschaft und zeigten aktiv ihre Gefuhle, indem sie sich bunt kostumierten, vor allem mit den Nationalfarben schwarz-rot-gold, und auf Fan-Meilen sowie auf Straßen frohlich feierten. Dieses verbreitete Vorzeigen und Auftreten der deutschen Flagge und der deutschen Nationalfarben an Autos und Bekleidung loste eine Debatte uber diesen neuen, sogenannten frohlichen Patriotismus aus. In der vorliegenden Untersuchung soll eingegangen werden auf dieses neue Phanomen in der deutschen Gesellschaft anlaßlich der Fußball-WM. Die Arbeit will das Verhaltnis zwischen dem sportlichen Ereignis 2006 und der kulturellen Indentitat in Deutschland in Bezug auf den frohlichen Patriotismus der Bundesrepublik herausarbeiten. Hierfur wurden zweierlei Materialien, d.h. der Dokumentarfilm Deutschland, ein Sommermarchen von Sonke Wortmann und die Berichterstattung der Medien berucksichtigt. Fur die Analyse der Medienberichterstattung wurden die vier Printmedien FAZ, SZ, der Spiegel und die Bild-Zeitung exemplarisch ausgewahlt. Wortmanns Dokumentarfilm, der offizielle Dokumentarfilm der Fußballweltmeisterschaft 2006, konzentriert sich darauf, wie Klinsmanns Mannschaft wahrend des Turniers ganz Deutschland in eine sensationelle Euphorie versetzt. Dazu zeigt der Film nicht nur die sportlich erfolgreiche Nationalmannschaft, die sich im Laufe des Turniers in eine junge, frohliche Mannschaft verwandelt, sondern auch wie Deutschland in einen Zustand der Euphorie gerat. Die sudlandische Frohlichkeit der deutschen Fans, die nicht nur in den Stadien, sondern auch auf den Straßen zu finden ist, bedeutet einen große Unterstutzung fur die Nationalmannschaft und macht den neuen spielerischen Patriotismus der Deutschen aus. Aus Wortmanns Dokumentarfilm kann man einen gesellschaftlichen kulturellen Diskurs ableiten, denn der Film fokussiert auf ein Wir-Gefuhl, mit dem die Deutschen Zugerhorigkeit zu ihrer sowie Stolz auf die Nation neu entwicklen konnen. Auch die Printmedien berichten uber das sensationelle Phonomen in der deutschen Gesellschaft wahrend des Turniers 2006 und kommentieren mal kritisch, mal gelassen. Der Aspekt einer Identitatskonstruktion zwischen den deutschen Fans und der Nationalmannschaft einerseits sowie der nation andererseits ist in der Berichterstattung der Bild-Zeitung klar zu erkennen. Hier wird die Eigengruppe aufgewertet, wahrend der Gegner deutlich abgewertet wird. Dagegen ist die Berichterstattung der Tageszeitungen FAZ und SZ sowie der Zeitschrift Der Spiegel eher unaufgeregt und nuchtern, manchmal geradezu sachlich. Die Allgegenwartigkeit der Nationalfahne wahrend des Turniers akzeptieren diese drei Printmedien als eine Art Party-Stimmung, in der die deutschen Fans als Gastgeber ein großes Fußballfest mit sudlandischer Ausgelassenheit feiern und ein neues Gesicht der Leichtigkiet, Leidenschaft und Weltoffenheit zeigen. Die Printmedien vermittlen die WM zwar unterschiedlich nach ihrer jeweiligen Tradition, berichten aber gemeinsam positiv uber die Stimmung der deutschen Fans, die in der bunten Kostumierung ihrer Nationalfarben eine gemeinwohlorientierte Haltung zeigen. Das neue deutsche Image war eine mediale Inszenierung, denn das Phanomen im Sommer 2006 wurde durch die Medien standig vermittelt und verstarkt, woraus sich schließlich ein neues Deutschlandbild ergibt. Aus diesem Grund kann die Weltmeisterschaft 2006 als eine Zasur in der deutschen Gesellschaft bezeichnet werden.

특집논문 : 서유럽,독일, 프랑스 이탈리아, 스페인 현대 영화 감독론 ; 한스 크리스티안 슈미트와 현대 독일영화 -최근작 <스톰> (2009)을 중심으로-

이주봉 ( Ju Bong Lee ) 한양대학교 현대영화연구소 2010 현대영화연구 Vol.6 No.2

Today`s German film goes into new renaissance. There is the recent rapid progress of German film, which is not only in the interest of critics but also in good returns at the German box office. Schmid is one of the most important new generation film makers in the present German film. Schmid was born in 1965 in Altoetting, but today lives in Berlin, where his production company 23/5 is located. Schmid was known as a film maker to critics, with the documentary <Die Mechanik des Wunders>, the graduation film at the Munich Academy for Television and Film. And both critics and audience have paid attention to him by his film work of five feature films since the debut film <Nach Fuenf im Urwald>. Especially <Lichter> in 2002, <Requiem> in 2006 to <Sturm> in 2009, Schmid`s three films were continually invited in the competition of the Berlinale. <Sturm>, Schmid`s political drama, released at the 2009 Berlinale, is the work which reveals "why Schmid" well once again. <Sturm>, a different kind of political thriller, is about Bosnia war criminal accused at UN International Criminal Tribunal for the former Yugoslavia(ICTY) in the Hague. Hannah Maynard, a prosecutor at ICTY, is leading a trial against Coran Duric, former commander of the Yugoslavian National Army. Hannah meets Mira who is not willing to admit but has much more to say about the defendant. Mira finally agrees to testify against Duric at the ICTY. But just before a legal hearing, Mira`s testimony is disallowed by the compromise of Duric`s defence and the judiciary under the pressure of ICTY`s 2010 legal deadline. Hannah herself faces the trial of her life and she is confused between her strong beliefs in the justice system and her loyalty towards the witness. The film narrates without any special effects or dramatic music and instead presents documentary style filmmaking, which focuses on Hannah`s struggle for justice and truth. As for mise-en-scene, the movement of handheld camera supports directly the narrative all. For example, camera moves with adhering to figure movement. When a character moves, Schimid often pans or zoom in/out to follow. Namely the handheld camera follows a walking protagonist, moving together. <Sturm> can be told as the film that has realistic elements in the style as well as in the content. The film makes audience experience the aspects of their reality most validly. Because Hannah`s everyday life is with the moments of trivial and casual, as are we all, at each moment an ordinary reality can be reconstructed. So this moment of reality can be comprehended as that of "the redemption of physical reality". <Sturm> reveals so well Schimid`s style about the reality of our life and his research for reality, justice and human.

아날로그 미디어 노스탤지어와 디지털 영화 : 〈에놀라 홈즈〉(2020)에 나타난 재매개 현상을 중심으로

이주봉(Lee, Ju-Bong) 한국영화학회 2021 영화연구 Vol.- No.88

본고는 최근 사회문화적 현상이자 미디어 현상으로 부각되는 아날로그 노스탤지어 경향에 주목하면서, 이를 디지털 영화적 특성을 탐색하는 단초로 삼고 있다. 미디어 현상으로서 아날로그 노스탤지어 현상은 디지털 전환(Digital Turn) 시기 영화의 재매개와 관련하여 흥미로운 논의점을 던져주는데, 이는 복수의 재현매체 이미지들이 내러티브를 구성하는 재매개 현상이 디지털 시대 영화의 매체적 변화를 도드라지게 해주기 때문이다. 본고는 특히 셀룰로이드 필름 시대의 형식 스타일을 재매개하는 디지털 영화의 이미지가, 그 이미지를 스펙터클화하면서도, 여전히 투명한 환영주의적 영화 현실을 구성하도록 해준다는 사실에 주목하고 있다. 또한, 이러한 투명한 영화적 현실은, 이를 향유하는 관객들의 정동적 태도들(the affective attributes)과 밀접한 관계를 맺고 있다는 사실에 주목하면서, 디지털 영화에 대한 깊이 있는 이해를 도모한다. 이러한 논의를 위해서 본고는 영화 〈에놀라 홈즈〉(2020)를 예시적으로 분석한다. 이 영화는 아날로그 재현매체 이미지를 적극적으로 재매개하여 그 영화적 현실을 구성하면서, 이미지의 스펙터클현상 및 투명한 환영주의적 영화 현실 구성이라는 모순적으로 보이는 영화적 태도를 드러내는 영화이다. 본고는 일면 모순적으로 보이는 이러한 영화적 태도가, 컨버전스 미디어로서 자리매김하는 디지털 영화의 성격을 드러내는 적절한 예시라는 사실을 제시하고 있다. Recently, an analog nostalgia that has been arisen since 1980s in the last century gets strengthened. This phenomenon is social cultural and mediatic too, because “media produce contents and narratives not only in the nostalgic style but also as triggers of nostalgia.”(K. Niemeyer, p.7) With analog nostalgia as a media phenomenon, this article is to explain the remediation in the digital cinema, furthermore to show how especially the remediation with the multiple-representation strategy related to analog nostalgia emphasizes the cinematic specificity in the digital era. This article focuses on the contradictory cinematic tendency in the digital cinema that makes the image in the cinema a kind of spectacle as well as constitutes transparency cinematic reality. Related to the affective attributes of the cinema recipient, the spectacle image can constitute the immediate transparency cinematic reality. That’s because “the crude immediate spectacle images paradoxically create ‘the sense of presence’ to the audience”.(Lee, 2020, p.122) In order to discuss this topic, I am going to analyse Enola Holmes(2020) that had released on September 2020 and received positive reviews in the public. This film shows the contradictory cinematic tendency between spectacle-image and cinematic reality in the immediate transparency. The cinematic style of Enola Holmes is unique due to the remediation, i.e. multiple-representation strategy with analog media, namely a mixed composition with black and white images, animations, letters and illustrations etc. With analyzing remediation in Enola Holmes, I would like to explain the digital cinematic specificity, focused on the affective attributes of the audience in relation to the digital cinema as a convergence media.

1960년대 정치세력의 통일논의 전개와 성격

이주봉(Lee, Joo-Bong) 고려사학회 2013 한국사학보 Vol.- No.50

By tracing the changes in the unification theory adopted by the Park Chung-hee government and opposition parties in the 1960s in the aftermath of the May 16th Military Coup of 1961 and connecting the April Resistance of 1960 to the active unification policy of the Park Chung-hee government in the 1970s, this study reveals the characteristics and periodic significance of the unification theory adhered to in the 1960s. Based on the principle of unification through victory over communism, the Park Chung-hee government and the conservative opposition parties agreed to focus on economic development first and unification later. They were also of the same mindset with regards to the holding of a general election under the auspices of the UN. However, cracks began to emerge in the unification theory of the conservative parties following the emergence of a new debate over unification created by the Democratic Socialist Party’s calls for inter-Korean exchanges during the political reorganization process of 1966 that occurred a year prior to the Presidential and National Assembly elections. Increasingly critical of the government’s use of the Anti-Communist Law to control the debate over unification, conservative opposition parties began to call for modifications to the holding of a general election under the auspices of the UN and the establishment of limited inter-Korean exchanges. The government partially modified the notion of holding a general election under the auspices of the UN, and increasingly advocated the gradual reunification theory that would become the norm from the late 1970s onwards. However, the debate over unification amongst political groups during this period clearly exposed the limitations of politics in the 1960s, a period in which the true intention was to grasp political power rather than prepare realistic measures for unification. This study successfully showed a clear link between the unification theory and discussions on unification among political groups in the 1960s and the April Resistance of 1960. Moreover, it also shed light on the intrinsic causes of the Park Chung-hee government’s active unification policy of the 1970s. The Park Chung-hee government’s volte-face in terms of its unification policy in the 1970s was spurred by external changes in the political landscape and the advent of the spirit of detente within a South Korean society that supported the calls for inter-Korean exchanges that began in the late 1960s. Furthermore, the tacit agreement within Korean society regarding the existence of two Koreas and the decline of the significance of a general election under the auspices of the UN during the late 1960s eventually paved the way for the Declaration for Peace and Unification on June 23, 1973. This in turn not only concertized the existence of two Koreas, but also facilitated the North and South’s simultaneous joining of the UN.

감성적 지각 대상으로서 디지털 테크놀로지 시대의 영화-영화 <아티스트>를 중심으로-

이주봉 ( Lee Ju Bong ) 한양대학교 현대영화연구소 2018 현대영화연구 Vol.14 No.2

21세기 디지털 테크놀로지 시대의 영화는 이전 세기와는 다른 방식의 영화적 태도와 그에 상응하는 영화적 체험을 제공해 준다. 그런데 이러한 영화적 태도는, 디지털 미디어 테크놀로지의 발전에 따라 변화한 인간의 존재 양식이 영화를 수용하는 관객들의 지각 방식에서 이전과의 차이를 만들어내고 있다는 사실과 관계한다고 볼 수 있다. 예를 들어 최근 디지털 테크놀로지 시대의 영화에서는 - 벤야민이 지난 세기 언급한 - 그 이미지 등이 시각적 촉각성을 넘어 촉각 자체에 소구되는 경향을 보다 더 쉽게 찾아볼 수 있다는 점이다. 이런 이유로 미디어 테크놀로지 형식의 변화와 이를 수용하는 관객의 지각 방식 사이에 놓인 밀접한 연관 관계에 주목한다면, 우리는 디지털 기술 시대의 영화커뮤니케이션의 특징을 잘 이해할 수 있다. 본고는 아자나시비우스의 영화 <아티스트>를 예시로 삼아 이상과 같은 디지털 테크놀로지 시대의 영화적 태도를 확인하고 있다. <아티스트>의 사운드 미학에 천착하면서, 본고는 명상하고 사유하는 심미적 지각이 아닌, 촉각과 관계하는 보다 일반적인 지각, 즉 감성적 지각 방식이 디지털 영화의 주요 특징 중 하나임을 제시하고 있다. Recently, unlikely before the digital technology era the cinema in the digital era shows a special cinematic attitude and offers a corresponding cinematic experience to the cinema audience. With being related to the development of the digital technology, this cinematic attitude is significantly different from that of the 20th century and has a decisive effect on the perception of the recipient. For example, we encounter the new perceptual tendency in digital cinema, related to not only the aesthetic or the rational consideration but also general aesthetics, namely perception in the broader sense. Expecially the spectacle image in the digital visual ear is more overwhelming than ever. This experience of shock (Schockerlebnis) brings the cinema audience a special experience, namely ‘Erlebnis’(Benjamin) not ‘Erfahrung’. Therefore optical tactility in the cinematic experience of the digital era becomes increasingly significant. Since the appearance of digital media technology, interactivity with the recipient has been one of most crucial things. With this study I try to explain how the cinema audience perceives the image and the other cinematic format in the digital technology era. With paying attention to the change of the perception of the audience in corresponding to the development of the media technology, we can understand better a new phenomenon about the ‘digital cinema communication’. I am going to analyze digital cinema < The Artist >(2011) by Michel Hazanavicius, that was produced in the a general practice in the silent picture days, i.e. black and white without sound, 1.33:1 screen ratio, at a slightly lower frame rate of 22 frame per second, etc., in order to recreate 1920s silent film. In spite of the silent picture format, < The Artist > is not a silent picture. Most of the cinema is silent, but it has not only two scenes with sound but the non-diegetic soundtrack. These special sounds make the audience feel a spectacle and provide them a special experience. Namely this cinema is intended to be perceived as a digital cinema that is focusing on optical tactility of the cinema audience. With analysing sound strategy in the cinema < The Artist >, I would like to explain the sensitive perception focussed on optical tactility of the cinema recipient in relation to the development of the media technology.

FMCW 라이다의 거리 고분해능을 위한 주파수 측정 방법에 따른 분해능 비교 분석

이주봉(Jubong Lee),윤두영(Duyeong Yoon),조영준(Yeongjun Cho),박기환(Kyihwan Park) 대한기계학회 2023 대한기계학회 춘추학술대회 Vol.2023 No.11