한국 인권영화의 흐름과 경향: 2000년대 인권영화를 중심으로

류훈 ( Hoon Ryoo ) 성결대학교 다문화평화연구소 2009 다문화와 평화 Vol.3 No.2

멀티미디어 시대와 문학의 소통 영화 시나리오의 스토리텔링 -장편 상업영화를 중심으로-

류훈 ( Hoon Ryoo ) 한국현대문예비평학회 2010 한국문예비평연구 Vol.- No.33

We are living in a society where there are full of stories to tell. The issue is not whether people have stories, but how to tell those stories to the world. Stories residing in the public and society act as an axis that produces and consumes capitals governing all of industries and genres. In a society that constantly produces and consumes media and its byproducts, good storytelling determines the success of games, dramas, films, commercial advertisements, etc. Especially films, as well as theatrical plays, have been the most common medium for story telling. Different media genres have their own ways of telling stories and films are not exceptions in this respect. This paper aims at providing a comprehensive overview of story-telling methods in films that are distinctive from other art genres and media products. One of the most distinctive features of story-telling method in films is the time constraint. The time constraint that is unique to films requires them to have compressed artistic visuals embedded in story-telling, which results in the need for development of technologies for squeezing stories effectively in the limited duration of 120 minutes. The representative method of overcoming the time constraint in story-telling is the 3-Acts Structure by Syd Field, which has been used as a story telling device for ages as an effective way to achieve balanced time allocation of stories in films. This paper carefully investigates the film 「Teacher Mr. Kim> to illustrate the important principles underlying the 3-Act Structure and how it was applied in different parts of the film. Next, this paper examines the distinctive qualities required of main characters in commercial films. Main characters in commercial films produced for the purposes of profits are expected to explicitly show their forbidden desires and their unique appeals. They should also be passionate than simply sarcastic and their desires should be at something specific instead of something vague. Only through the main characters who are equipped with these qualities can make the film stories truly being told to people. Lastly, this paper deals with the ways to produce audio-visual elements in films. One of the principle element of scenario writing is to write it as you see it. This is a distinctive feature of story telling in films that is different from other media products. The movie 「Christmas in August> is a good example to show how films can tell stories by using the audio-visual signals elements. As we have seen in 4D movies played in theaters in 2010, films can no longer be called `Cool Media`. Films keep changing their faces into `Hot Media` in interactive formats by adopting new and high technologies. These technologies provide a virtual world where people can taste and smell things, feel physical shocks and pains, and even experience sensual pleasure. Now that new technologies will open their possibilities for new ways of story telling, it is time to seek new challenges in story telling and film making in general.

모바일 시대, 세로영화의 요구에 따른 기술적, 미학적 특징에 관한 연구 – 데이미언 셔젤(Damien Chazelle)의 <The Stunt Double>을 중심으로 -

류훈(Hoon Ryoo) 한국영상제작기술학회 2021 영상기술연구 Vol.- No.36

In 2007, Apple released the iPhone for the first time in the world. Fourteen years later, most people have smartphones in their hands. The popularization of smartphones has created a syndrome of mobile content. Also, videos have become the most familiar medium in our daily lives. Most people use their smartphones vertically. So the smartphone is long vertically. Traditionally, however, cinema have long horizontal lengths. Because of this, it is inconvenient to watch horizontal images on a vertical smartphone. In 2020, Apple co-produced a short film with director Damien Chazelle in a vertical frame. The vertical film has wonderful level of completion. The film also moved away from the horizontal film and presented new technological and aesthetic possibilities for vertical films. Currently, most of the videos popularized around tic tok and YouTube are made by amateurs. So the technical and aesthetic completeness of the images is very poor. Of course, such images are also needed as long as the public wants. However, on a different level, longitudinal video content with high technical and aesthetic completeness can coexist. This study aims to assess the possibility of vertical cinemas as an axis of vertical video content. As a new form of film, vertical films will provide a new distribution network for films. Existing film industry will be go on. However, the film industry will have one more new production format and distribution network required by the environment in the smartphone era. This paper will be analyzed by Damien Chazelle’s vertical film, < The Stunt Double> and theoretically summarized and presented in the age of vertical film.

영화적 시각화 및 청각화 기술

류훈(Ryoo, Hoon) 한국영상제작기술학회 2012 영상기술연구 Vol.- No.16

"Films are the art of directing." We hear this often when working in a film business and it basically means how important the directors" job is in making films, which clearly implicates the fundamental characteristics of films. Then, what is the fundamental characteristic solely applicable to films? What defines films is the very existence of "cameras". It is not that only films are the only media that makes use of cameras. There are also cameras used for making TV dramas, which makes it little different from films. It is just that there is a critical difference between films and TV dramas in how they utilize cameras. Cameras for TV dramas have somewhat mechanical functions in that they are primarily used for filming the development of stories rather than for capturing the aesthetic aspect of scenes. On the contrary, cameras for films go one step further to having aesthetic meaning than for TV dramas. Directors who make films use their cameras, in showing the subjects, to work harder on how they go about "telling" the story rather than focusing on the story itself. This paper explores communication methods in films that can maximize the media characteristics of films. Specifically, it examines the excellent cases where messages are delivered by the utilization of visual approaches using cameras and Mise-en-Scene as well as the use of aural approaches to film communications. This will surely help us to better understand what roles those approaches play in films.

경제학 이론과 시나리오 본질의 상관관계(相關關係)에 관한 연구 - 행동경제학과 게임이론을 중심으로 -

류훈(Hoon Ryoo) 한국영상제작기술학회 2020 영상기술연구 Vol.- No.34

“Human beings” are inherently imperfect. They seem to have reason, but many times, act unreasonably, and seem to seek rationality, yet act irrationally. Films deal with people as faltering human beings. People pictured in films often make unreasonable decisions and foolish challenges. This is what makes the human beings in films so appealing and tantalizing. Then, why don"t they long for characters who are predictable, sensible, and resonable? Notwithstanding the society advancing with reasonable order and rational decisions, people are not much into film characters with such order and reason. For the last two hundred years, the established economic theories present images of human beings armed with reason and rationality who try to maximize their own interests. However, behavioral economics reject and resist this image of human beings. They believe that human actions and decisions are far from perfect. According to their theories, human beings act senselessly and make reckless choices and irrational decisions, putting up with the disadvantages they might get from them. The behavioral theory supports the images of film characters who make foolish choices and act irrationally. Films and economic theories that are seemingly unrelated have a common denominator in terms of ‘psychology of humans’. When screen writers come up with characters, organize plots based on those characters, and make those characters face dilemmas, they can write much more solid screenplay if it is based on the behavioral economics and its game theory. This study is an attempt to provide scientifically based accounts of film characters and irrationality of plots through interdisciplinary analysis of two different areas of economics and screenplay.

영화 시나리오 교육에서의 ‘비밀게임’에 대한 연구

류훈 ( Ryoo Hoon ) 한국예술교육학회 2020 예술교육연구 Vol.18 No.4

영화교육은 크게 촬영, 편집, 사운드디자인 등 기술적인 교육과 연출, 시나리오 등의 인문학적 기초에 기반한 교육 등 두 가지 축으로 구분할 수 있다. 그런데 본 연구자가 영화전공 교수로 16년째 학생들의 작품을 지도하면서 가장 어려운 교육을 한 가지만 꼽으라고 한다면 잠시도 주저하지 않고 시나리오 교육이라고 대답할 수 있다. 시중에 수많은 작법서들이 즐비함에도 여전히 시나리오를 쓰는 학생들이나 작가지망생들은 시나리오 쓰기 과정을 어려워하며 중간에 포기하기를 반복한다. 본 연구자는 시나리오 지도 경험이 많은 교수자와 영화교육을 받는 학생들을 상대로 시나리오 쓰기와 관련한 설문조사를 실시하였고 그 결과 딜레마와 아이러니 상황의 창조에 많은 교수자와 학생들이 어려움을 겪고 있다는 사실을 도출할 수 있었다. 딜레마란 누구나 알고 있듯이 둘 이상의 선택지에서 하나밖에 얻을 수 없는 상황을 말하며 아이러니란 누구는 알고 누구는 모르는 상황의 연출을 통해 관객에게 특정 감정을 불러일으키는 영화적 장치이다. 하지만 딜레마와 아이러니의 구성에 있어서 핵심은 관객과의 비밀게임이라는 기술을 통해 극적으로 만들어진다는 사실을 설명하고 있는 작법서는 많지 않다. 시나리오를 쓸 때는 등장인물이 느끼는 딜레마와 아이러니에 못지않게 관객이 느끼는 딜레마/아이러니 상황를 설정해주는 일 역시 매우 중요하다. 본 연구는 이러한 딜레마와 아이러니 상황을 이용, 비밀게임의 법칙에 대해 이론화하는 의미 있는 시도이며, 이를 통해 교수자와 학생들이 시나리오의 본질에 보다 용이하게 접근하고 더 좋은 시나리오를 창작하게 하기 위해 기획된 논문이다. Film education is largely divided into technical education such as teaching film shooting, editing, and sound designing technologies and general education based on humanities disciplines. As for the researcher of this study who have taught students for over 16 years, the most challenging task would surely be teaching screenplay writing. Despite all those writing guide books and manuals out in the market, students or wannabe writers often keep dropping out of screenplay writing programs. In this study, a survey on screenplay writing was administered to experienced teachers of screenplay writing and college students in film majors. The survey results reveal that many teachers and students suffer from developing dilemmas and ironic situations. A dilemma, as we all know, refers to a situation that requires one to choose among options that are equally difficult and exclusive to one another. An irony in movies is a film technique to create a situation where there is a contrast between what actually is done by a character and what is expected by the other character. Ironical situations in films arouse viewers’ particular emotions. Not many film technique manuals and guide books state the fact that dilemmas and ironic situations in films are made by a technique called ‘the secret game with the viewers’. When writing a screenplay, it is equally important to create dilemmas and ironic situations that the viewers themselves experience, not just the ones that characters do. This study is a meaningful attempt to theorize the rules of secret games within dilemmas and ironic situations. It can help screen writing teachers and students better approach to the fundamentals of screenplay writing which will lead them to create better screenplays.

편영화 시나리오 쓰기

류훈 ( Hoon Ryoo ) 한국영화교육학회 2007 영화교육연구 Vol.9 No.-

One of the hotly debated issues among Korean movie goers in 2007 was the controversy surrounding the movie <Dragon War>. The core ofthe controversy is the question of whether a movie based solely on savvy, eye-catching computer graphic technologies can be an A-grade movie. It is an unfortunate thing to argue over such an issue. It is even more unfortunate that the debate on the movie <Dragon War> was an issue not only among ordinary movie-goers but also among so-called film experts. The story is the most fundamental element of all narrative films. When a movie is not equipped with coherent plots we cannot say it is a narrative film. The most worrying thing in the debate over <Dragon War> is about the messages it delivers to the countless of those who study film. The commercial success and appraisals given to the movie <Dragon War> frustrated me as a film educator with a concern that they would have a negative impact upon students who have already learned to pay more attention to camera technologies and mechanical skills rather than to good plots and well-developed narrations in the digital era. I strongly urge film students to rethink the fundamentals of making movies, which is directly linked to writing good movie scenarios. The present paper was motivated to help students acknowledge the fact that one can never make a good movie without a good movie scenario and discuss some fundamentalements in making good films. This paper presents practical problems and difficulties that emerged from hand-on experience of teaching students in a college film classes and points out some frequent misconceptions of students towards scenario writing processes. Based on the analysis of various cases from actual classes, this paper emphasizes the importance of writing good scenarios as the foundation for making good films and examines how to write a good scenario.

영화작가 이창동 감독의 영화연구 -한국영화가 다시 살아나는 길을 위한 모색-

류훈 ( Hoon Ryoo ) 한국영화교육학회 2008 영화교육연구 Vol.10 No.-

It is now 2008, the Korean film industry is in the worst depression ever. The Korean film community including critics, professors, and other film experts have analyzed the causes and argued that the depression is attributed to multiple sources such as market demolition for additional rights, lack of organizational competency, failed profit system and so on. However, most of these analyses focus on external factors in the industry instead of the overall quality of movies, which is the at the heart of the current crisis of film industry. Has the quality of Korean movies declined? If so, what are the factors contributing to the decline? In order to answer these questions, this paper analyzes a series of films directed by Chang-Dong Lee. Based on the analysis of how director, Chang-Dong Lee, approached the characters in his films, this paper argues for the strength of integrated and honest approach to humanity in movies on their overall quality, which has long been undervalued and dismissed for a concern for completion of films. Specifically, this study focuses on the long standing problem of the majority of Korean films, the lack of humanism, through the detailed analysis of Chang-Dong Lee`s films. This paper emphasizes how important it is for a director to care for the characters in his/her movie and describes how positively humanism and realism sought by directors contribute to better quality and completeness of the movies.

한국 상업영화, 캐릭터의 획일성과 비확장성에 대한 연구

류훈(Hoon Ryoo) 한국영상제작기술학회 2017 영상기술연구 Vol.- No.26

Despite all the challenges involved in the field of film production in Korea, recently released films have gained increasing popularity and the industry is flourishing and expanding gradually. Accordingly, the range and the number of star actors are greater than ever and it certainly is true that the number of the actors with good acting skills has dramatically increased recently. These actors are playing an important role in sustaining the Korean film industry and attracting audiences with high expectations of them. Just mentioning a the names of those actors, Song Kang-Ho, Choi Min-sik, Lee Byung-hun, Kim Yoon-seok, Ha Jung-woo, Kang Dong-Won, Yoo Ah-in, Lee Jung-jae, Sol Kyung-gu, etc. come up to the scene, which indicates the increased number and diversity of actors, compared to the ones in 1990s-2000s when there were a few such leading actors. Nonetheless, when we think about the acting and performance of these actors, we think of the typical and formulaic film characters that have dominated Choongmoo-ro movie market instead of their deep-thought-out characters representing different persona. When we watch a movie (even a movie of a fantastic genre), we get to see the world with multiple dimensions through projecting ourselves to and understanding a human being (not a person who is acting) who is likely to exist somewhere around us. However, the joy of meeting such characters in Korean films is hard to come by nowadays. Only stars and actors, not characters, seem to exist on the movie screen, which is a clear indication that they serve to the profit-seeking investors and companies. The present paper examines the historical changes of film characters of males, females, the elderly, adolescents, and children in Korean big-budget movies. It reveals the problems inherent in the realizations of characters in those blockbusters that are dominating the current film market in Korea. Specifically, it suggests the ways to promote new character developments and what it means to act deep-thought-out human characters in movies.

스토리텔링 기술로서의 롱테이크 활용에 관한 연구

류훈(Ryoo, Hoon) 한국영상제작기술학회 2021 영상기술연구 Vol.- No.37

In film history, ‘long-take’ as a skill of film directing may be the oldest photographing skill since the invention of Cinematograph made by the Lumiere brothers in France in 1895. Of course, Georges Melies" film 〈Trip to the Moon〉1902) was almost contemporarily made as the beginning of formalist films, but many of the first films were made of sequence shots without editing techniques, so they had to have long-take properties regardless of length. After the short was segmented by David W. Griffith and editorial techniques became a full-fledged directing technology through the era of Soviet montage, the term "art of editing" has become a common idiom. However, along with Andre Bazin"s theory, efforts to inherit the tradition of realism have also continued, and "long-take" skill as a representative way to secure its realism is still valid to this day. As of 2021, due to the development of numerous grip equipment and cameras, and advances in CG and editing technology, long-take is no longer attributed to the style of realism and formalism in film production. It can be said that it is an era in which long-take is studied and developed as a way to reveal the director"s own personality and style by numerous directors. This study compares Laszlo Nemes" 2016 work, 〈Son of Saul〉 and Sam Mendes" 2019 work, 〈1917〉 to examine how the director uses long-take technology in his language, and in addition, 〈Birdman〉2014.