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This study aims to analyze the film acting style, based on Elia Kazan`s movies in the 1950s. ``American acting method`` in the 1950s was emerged as an icon of the day with actors became famous. Its use began in the 1920s, but it was not until the 1950s that first coming to the attention among public. This technique has continued into American acting method that plays key role in film acting up to now. In this study, there will be analysis from Elia Kazan`s movies on the variety of American acting method, which is the foundation of film acting. The body of the study on aspects of American acting method, applied to film by categorizing several examples; acting that concentrates on reality of daily life, spontaneity that diminishes the exaggerated acting, expression of internal truth in the given circumstances, and manifestation of character`s emotion from affective memory. The film and acting reflects the trend of the times alike. As time goes , the acting-theory have altered and it will. The purpose of this study is to find the origin of American acting method, which plays key role in Korean film, and promote the development plan for it.
This study is for the drama evaluated as ``cinematic picture`` and a ``cinematic drama`` broadcasted recently by domestic ground wave. As it provides a differentiated picture compared with a traditional drama relatively, it is increasing for the drama to be named the specific modifier. This study analyzes the drama that is borrowed from a cinematic style, not only that, it gives attention to appearance, characteristic, effect of this drama. In other words, it investigates a producing intention and characteristic in final acceptance process and how to produce the drama of cinematic style in any situation in any way. For securing a rating and increasing a export, it`s understood to be shown such as a cinematic drama in the situation that it`s needed to produce differentiated drama. At first, there is the change of equipment in producing drama. Because of emerging of digital equipment it`s the same in the cameras, lamps, and editing equipments between a drama and cinema in production. Second, there is the influx of workers from cinema environment. Increasing the drama by subcontracting, sometimes, the studio produces a drama and they participate in directing, lighting, shooting for drama. Third, there is the change of viewing environment. The viewers, they want to watch the high-definition screen by supply of a large digital TV. Moreover, the popularity of American drama, called "mid" in korean, stimulates the domestic drama style. As a result, as concentrated in mini-series drama, the drama which appears a special video, a large-scale photography, and a action scene turns out in great numbers. Mainly, the drama is made into the historical-genre or the action-genre of the drama and it shows off the spectacular images unlike traditional drama, so it has been called as ``film-like`` drama. According to statistics, however, a change of the actual viewing environment is not greater than we expected in reality. Because the number of digital TV sets in use and the reception rates are occupied just about half of the entire viewer. Indeed, it leaves room for questions that drama, produced by state of the art digital equipment, is received by the viewers as distinctive visual style through the cutting-edge digital receiving equipment In the new media era of the Media Convergence, the boundaries between a cinema and a drama are also becoming increasingly blurred. In order to suit the changing environment that the combination of the media of cinema and drama, as well as the combination of manpower in the dimensions, various attempts are needed carefully based on accurate statistics with assessment of the situation.
Media is affected adjacent arts film from the birth itself. Paintings from dozens of chapters activity was gathered Was this animated movie. Film, sound absorption and also because these composite media, film and other artistic interaction between the inevitable only be no Than Intermedial paintings of literature and movies like this one step further enrich the film`s story and express how he gave us, have made interested in these genres other than the adjacent arts and interaction. In the film, the visual aesthetics of movement, dance and film, as well as the interaction of the actors or insert a different movie, the shooting of the film process to break down the boundaries of film and reality by showing the process of de-spatialized through metabolism and who rely on the behavior away from the narrative style of the film, based on a combination of various genres and to try new ways. Also implies implicit and painting in the movie that was borrowed for the mise-en-soon the film`s narrative is associated with an important motif and a double track is. This paper, especially about sex movies with a focus on Intermediality appear in his movies such as painting and sculpture of ``art`` and plastering ahbim as a ``movie``, and movements of the artists` dance of Pedro Almodovar`s recent work "in this film, is used by looking at how to analyze a variety of Intermediality. Also been actively studied since the 1990s, Intermediality theory and cinematic applications prior to analysis, the film`s look.
The main text is a discussion of the film education methods that using Non-profit Film in the secondary curriculum: as a case in point, practical class in middle and high school. Inside this article that include the way of film education about short film and independent film and a way of application of a short film making in the secondary curriculum. The following study is the utilization method about film education using Non-profit Film. First, Lesson program and a guidance plan. Second, Textual criticism in the lesson program. Now, this study will be discussed the instance of film education using non-profit film in the secondary curriculum.
Aims of film education are expressing images, understanding the procedure of film production, images reading and so on. The situation of film production has been changed rapidly in the digital age-participation of men and women of all ages, from a film to digital, from a director-centered to audience-centered, and so on. So film educators should be a guide of an active interaction in the communication of knowledge, and they should bear in mind that cultural and art education policy must aim to make people enjoy culture and art. In the current global state of cultural and art education, the United States emphasizes democracy and multi-culturalism that men and women of all ages can enjoy and multiethnic group and culture can be harmonized. England provides its people with the highest level art, creative experience and the opportunity of lifelong education. A basic direction of Korean cultural and art policy stresses creation, acceptability, multi-culturalism and learning- orientation. It can promote active learning motivation for people to enjoy rather than for experts. The driving assignments in cultural and art education are social cognition, public education, lifelong education, the expanding of the field, specialization, participation of the alienated class, developing environment, and so on. Visions of Ministry of Culture, Sports and Tourism are improving the quality of individual life and reinforcing cultural capability of society. Its driving assignments are increasing the chance of participation, stability of school culture and art education, cultivating experts, expanding knowledge and information, securing national status, and so on. Problems of Korean film education are unpreparedness of film education theory, overlooking discrimination between film education and image media education, uniform film education, dealing with violent and commercial films, completing the teaching profession and speciality of film lecturers, treating film lecturers, insufficient connection between film education and school film curriculum, short supply of a manpower in culture and art education of local institutions. Schemes to improve school education are expanding its field from image media education to culture and art education, differentiation between education for art (for specialists) and education through art(for the public), participating and experiencing film production, developing education program for postmodernism generation, consumer-centered education, balanced film education with critical humanities, increasing opportunity of education by opening various programs, improving quality of lecture and offering information through evaluations, converting the way from Top-down to Bottom-up, attaining a higher level by giving better treatment to film lecturers, and so on. There are increasing film making participants in the age of image such as teenagers distributing videos to a large audience through internet. The culture and art education policy should try to expand and to support the opportunity of enjoyment through local resources and constant efforts. The support projects for film lecturers should be managed by system stability, quality management, increasing support, management for creative manpower and managing both art education and culture education.
The Korean film education system was advanced provision without and it was come. Like this problem was made to bring the stagnation of Korean movie. We must look back this problem. It recognizes the importance of education and the education which is systematic it leads and must contribute in future of Korean movie. The Korean film education in compliance with a different curriculum lost the consistency of film education. Accomplishing the unification of education because of curriculum it comes to make in different standard, it is a difficult thing. It is a brain teaser the integration of curriculum actually. This does to become accomplished the future of Korean movie respects stands but certainly. Education it leads and the talented man who is excellent it discharges and they have a Korean movie development contribute and must make. It respects the development of film education it presents a few thing alternative. First, it propels the fundamental study integration of film education. Second, with support of the government the school founding important matter which is strict. third, Reinforcement of professor Is a more alternative is knowing a fact. But most the pressing problem is integrated of fundamental study and founding important matter. Systematic intelligence the film education which it cannot is future a Korean movie darkly. The Korean film education must select. For a better future will make the curriculum which is systematic or will abandon, must select. The future of Korean movie will be the possibility of seeking a solution from education. Now for the development of Korean film education with mutual assistance of the various universities it is a time where the cooperation is necessary.
The advent of TV had decreased the number of movie-goers drastically in Korea and other countries as well. In America, Film industry understood and adjusted to the TV and New media. But Korea film industry was not. This days, new media means the alternatives to the movies released and consumed through movie theatre. TV, video, Cable TV and newly emerging audio-visual media are included in this area. The purpose of this study is to find the differences between America, France and Korea in the structure of Film ad TV and to propose what to need for us now. In the market system based on Capitalism, the box office and distributing structure used to determine their survival or not. But from the long perspective, film industry will be more and more inactive and passive to changing media environment. To survive, It must embrace and cooperate with TV and all other new media.