다큐멘터리의 타임랩스 활용도 연구

최현진 영남대학교 일반대학원 2015 국내석사

오늘날의 사회적 환경은 영화ㆍ사진ㆍ텔레비전이 일상생활에 깊숙이 침투되어 있어 영상 환경이라고까지 말할 수 있을 정도다. 하지만 일정하게 흘러가는 시간을 그대로 영상으로 표현하는 것은 시청자가 보기에 한계가 있고, 시간을 어떻게 표현하느냐에 따라 영상의 수준에도 큰 영향을 미친다. 최근 많은 영상 분야에서 타임랩스가 사용되고 있다. 타임랩스는 시간의 경과를 압축하여 빠르게 보여주는 영상기법이다. 하지만 화려한 기술 이상으로 타임랩스가 갖는 의미가 무엇인지에 대한 고찰이 필요하다. 따라서 본 연구는 타임랩스의 기술적인 측면보다 내용적인 측면에 초점을 맞추어 연구하였다. 또한 영상 분야 가운데 다큐멘터리는 픽션과 같은 서사구조는 아니지만 주제를 전달하는 논리적인 구조로서의 선형 구조를 띄고 있다. 그리고 어떤 현상이나 사물에 대해 장시간을 관찰하는 내용이 많으므로 타임랩스가 많이 사용되고 있으며 앞으로도 다큐멘터리와 타임랩스는 뗄 수 없는 관계일 것이라 예상할 수 있다. 따라서 본 연구는 타임랩스가 사용되는 씬의 소요 시간, 횟수를 통해 다큐멘터리에 타임랩스가 얼마나 활용되고 있는지 파악하고자 한다. 또한 타임랩스로 연출된 씬과 앞, 뒤 씬의 내용을 비교하여 전체 맥락 가운데서 타임랩스의 의미를 살펴보고자 한다. 이러한 내용적 측면에 대한 분석을 통해 다큐멘터리에 활용된 타임랩스의 목적과 효과를 밝히고, 앞으로의 활용 방안을 고찰하고자 한다. Department of Visual Media Image Design Major in Visual Media Image Design Graduate School of Yeungnam University (Supervised by Professor Kim Hae-Tae) Abstract In these days, movie, picture, and television are so deeply permeated in our daily life, that we may call our social environment an ‘image environment’. However, it is difficult for the viewers when the constantly elapsing time is expressed as it is in an image. Moreover, how time is expressed in an image has a great impact on the quality of the media. Recently, time lapse technique is being used in various media fields. The time lapse is an imaging technique, which compresses the time lapse and turns it into a video that plays back in high speed. However, there is more meaning to study to the time lapse than just its fancy technique. Therefore this study focused on the content side of the time lapse rather than the technical side. Additionally, compared to the other media fields like fiction, which has a narrative structure, the documentary has a linear structure to logically deliver a message. Also the documentary often contains a long-term observation of a phenomenon or an object. Consequently the relationship between the documentary and the time lapse technique is inseparable. Therefore, this study focused on the use of the time lapse in the documentary through an analysis on the frequency and the duration of the time lapse scenes in the documentary. Furthermore, the preceding and the succeeding scenes of the time lapse scene were compared in order to discover the meaning of time lapse in overall context. Through these contextual investigations, this study tried to discover the goal, the impact and the future use of the time lapse in documentary.

스마트폰을 활용한 광고디자인 형태 연구

황민정 영남대학교 대학원 2011 국내석사

Media paradigm faces changes greater than revolution beyond just changes. Borders between media become blurred. Contents' information is expressed through combination of various media in the form of cross media. In the second half of 2009, with the popularization of smart phone, people are able to use personal mobile broadcasting anytime anywhere through social network, and it became an icon that proves one's identity which is different from those of others. As advertisement design form that has not been expressed because of existing small screens and capacity become smart, range of expression becomes broader, accelerating development of advertisement. Now, not spam, but advertisement and information themselves are enjoyed. Most advertisement forms of smart phone are application. Except for message advertisement, they are expressed through web or platform within application. Therefore, users are able to feel pleasure and satisfaction through various expressions such as image, video, and text, which are more than just information. Movement in mobile advertisement design is an important factor that leads users' eyes to particular directions or induces participation in advertisement. Horizontal direction has the stable and natural feeling like water flow, vertical direction includes warm and limitless movement because of speed, and oblique direction has both cold and warm feeling and strikes a balance. These feelings stem from people's sight instinct and psychology. Considerations for developing smart phone advertisement design are like the following. 1. With fusion of contents and media, advertisement design's field become expanded. 2. For ensuring that within a short period of time, inducing sight to interesting places and inducing recognition require laying out eye-catcher in the places where eyes tend to stop easily. 3. When huge amount of information is expressed in one advertisement, information is not conveyed and purchase is not made. On the contrary, users feel displeased and such information would be turned away. 4. It is necessary to ensure an advertisement changes in one form within specific conditions. As mentioned above, if design is made with various perspectives put into consideration, advertisement would be more than that and be absorbed into our life naturally and mobile advertisement design market would become bigger and more developed. Therefore it would be better to continue research for the effective use rather than to make temporary and generalized standards for advertising design.

한국 심리적 공포영화에 나타난 색채 대비에 관한 연구

장창위 영남대학교 대학원 2014 국내석사

색채는 인간의 풍부하고 다양한 감성을 대변하는 대표적인 시각언어로써 시각 전달에 있어서 아주 중요한 요소이다. 또한 색채는 심리적이며 즉흥적 기분에 영향을 주는 자극적 요소이다. 따라서 우리는 영화를 보고 난 후 그 영화를 다시 떠올릴 때 대부분 스토리 보다는 하나의 인상적인 장면을 먼저 재생시키게 된다. 이는 색채가 시각적으로 가장 먼저 인지되었기 때문이다. 영화는 그 시대 관객의 취향과 상업적 유행, 사회의 보편적인 가치 의식 등의 조건에 따라 생성되었다 다시 소멸되기도 한다. 이 것이 장르 영화가 그 영화 제작 시기의 문화, 가치관, 사회상 등을 확인하는 도구로 활용되고 있는 이유이다. 현대 사회에서 공포의 표현은 사회적 인간성 상실과 심리적 불안감으로 인해 문학, 회화, 조각, 사진, 패션 등 예술 전반에 걸쳐 더욱 활발하게 나타나고 있으며 본 논문의 연구 대상이 되는 영화 및 광고 같은 대중 매체에까지 확대되어 표현되고 있다. 심리학자들은 대부분의 사람들이 신체적, 정신적으로 위협을 가하는 공포에 대해서는 극심한 두려움을 갖고 있지만 가벼운 공포 반응에 대해서는 오히려 심리적인 긴장과 이완을 통해 오락의 대상으로 여기는 경향도 있다고 진단한다. 이것이 바로 공포영화가 꾸준히 제작되고 있는 이유를 뒷받침 하는 이론이 되겠다. 다양한 장르의 영화가 스크린에서 관객의 시선을 끌고 있지만 그 중 심리적 공포영화가 관객에게 제일 강렬한 영상 및 인상을 남긴다. 앞서 서술한 것과 같이 색채가 시각과 심리에 미치는 강한 인상 때문에 심리적인 공포영화에서 특히 의도적으로 색을 이용하는 경우를 우리는 쉽게 찾아 볼 수 있다. 심리적인 공포영화는 주인공이나 인물들의 심리상태, 갈등표현을 섬세하게 그려내야 하는 영화의 특성상 강렬한 색채대비와 상징적 색채를 활용함으로 함축적 의미를 내포하여 관객들에게 깊은 인상으로 남는다. 관객에게 공포감을 전달하기 위해서는 절대적으로 색채 작업이 필요하다. 공포영화를 떠올려 보면 매우 강력한 색채의 대비를 통한 공포영화 화면이 한눈에 영화의 공포 분위기를 전달하고 있다는 점을 쉽게 인지할 수 있다. 따라서 색채의 응용은 공포영화에서 빼놓을 수 없는 중요한 요소이다. 이에 본 논문에서는 색채대비와 심리적 공포영화의 관계를 탐구하고 이 연구 내용이 더욱 광범위한 매체에 응용되기를 바라는 바이다. 칼라 영화가 발명된 이후 색채가 영화의 표현기법 중 점점 중요한 부분으로 자리잡고 있다. 이미 단순히 진실한 색채를 재현함을 넘어 예술적 창조로 변화하고 있다. 특히나 디지털 영화 기술의 출현과 더불어 디지털 색 보정은 미술감독이 영화 색채의 응용에 날개를 달아 주었다. 그리하여 색채대비의 사용은 영화 산업에서 더욱 큰 비중을 차지하게 되었다. 특히 색채대비는 특정 색상의 자극을 강화시켜 관객의 심리 변화를 이끌어 낼 수 있다. 색채 대비의 이러한 특성은 심리적 공포영화가 강렬한 시각적 느낌과 심리적 암시의 필요에 정확히 부합하고 있다. 본 논문에서 10편의 한국 심리적 공포영화의 색채대비의 사용 분석을 통해 얻은 결론은 색채대비는 한국 심리적 공포영화에 매우 중요한 요소이며 이미 다양하게 활용되고 있다는 점이다. 만약 영화 감독과 미술 감독이 색채대비 이론을 정확히 이해하고 응용방법을 익혀 정확하게 심리적 공포영화에 사용한다면 영화 관객에게 극본대로 긴장감, 자극성, 공포감을 완벽하게 전달할 수 있을 것이다. The film is being screened in various genres these days. Among that various films, the psychological horror films leave the most tremble of fear to the audience. The psychological horror film is transfering very powerful atmosphere at a glance through the contrast of colors. Thus, the application of color is an indispensable key factor in a psychological horror movie. Since the invention of color film, the color is an increasingly important part of the film's representation techniques perched. It is already not only simply reproducing the true color, but also being an artistic creation. Along with the advent of digital cinema technology, the digital color correction resulted various application of color to the art directors. Thus, the use of color contrast in the film industry became more large part. In particular, the color contrast is resulting the changes of the psychology to the audience through the stimulation of a specific color. It is a strong visual sense of a psychological horror film and exactly meets the needs of the psychological implication to be. The range of the conrast of colors is very wide. And it is not used all the contrast of colors on a same way on every psychological horror film. So in this report, I will select top 10 psychological horror films from 2001 to October 2013 in Seoul Korea. Then I choose the 50 best scenes from those 10 movies to understand of how to use the contrast of color in each Korea psychological horror films. From 50 best scenes I analyze the color contrast, complementary color contrast, brightness contrast, saturation contrast and color contrast against heat and cold contrast. Movie directors and art directors have to learn how to correctly use and application of color contrast in a psychological horror film, the film will convey the emotion exactly likes tension, irritation and fear to the movie audience.

VR게임 환경요소에 따른 사용자 중심의 시각적 인지반응 개선방안

정호석 영남대학교 문화예술디자인대학원 2020 국내석사

이 연구의 목적은 가상현실게임의 문제점으로 지적되는 울렁증, 현존감 상실과 같은 문제점을 극복하기 위한 방법으로 VR게임이 가진 시각적 환경요소를 분석하여 인간의 시각적 인지반응들에 대입하여 문제점을 도출하고 사용자가 가상현실게임을 이용함에 있어 긍정적 시각 효과를 가질 수 있는 개선방향을 제시함에 의의를 두고자 한다. 본 연구는 가상현실 게임의 두 가지 장르와 6가지 유형의 게임에 대한 시각적 요소를 통한 기능적, 감성적 인지반응 요소로 구분하여 개선방향을 제시하고 있지만, 가상현실 게임은 더욱 다양한 장르와 게임 진행 방식, 시점에 따른 환경요소, 등 구현된 가상현실 환경이 다르고 시각적 형태 또한 다양하다. 또한 인간은 다양한 시각적 자극으로 인해 촉각, 후각, 미각, 청각과 같은 오감과 관련하여 공간이나 상황에 따라 각기 다른 인지반응을 일으킨다. 연구자의 시지각과 인지반응 결과를 토대로 분석을 진행하였고 인지반응에 대한 이론을 통해 개선방향이 제시 되었다. 이는 다른 시지각과 인지반응을 가진 사용자를 대상으로 하지 못하였기에 연구의 객관적 견해에 대한 한계가 있으며 앞으로의 연구에서는 7가지 분류로 나눈 시각적 요소를, 보다 세분화하고 다양한 피실험자를 대상으로 한 연구 분석을 통해 개선방향에 객관성을 높일 수 있을 것으로 보여지며, 이는 본 연구에서 제시하지 못한 가상현실 게임 환경의 다양한 형태의 시각적 요소들과 특정 환경, 상황이 사용자의 인지반응에 어떠한 기능적, 감성적 반응을 일으키며, 어떠한 영향을 미치는지에 대한 연구와 검증이 이루어진다면 VR콘텐츠 제작 시 고려해야 할 시각적 표현요소들이 사용자를 위해 어떻게 제작되어야 하는지에 대한 가이드 역할을 할 것으로 기대한다. The purpose of this study is to analyze elements of the visual environment contained in VR games and frame them in terms of human visual cognitive responses in order to seek ways to cope with such problems that VR games can cause such as feeling nauseous and loss of presence and to provide measures so that users of VR games can enjoy positive visual effects. Although the study provides measures to improve the enjoyment of VR games by classifying the measures of improvement according to two types of cognitive responses, functional and sensual, which are derived from visual elements of two genres of VR games and six types of games, VR games have many various realized VR environments in terms of genres, ways to play them, environmental elements by different angles, etc. and they have various visual forms as well. Moreover, humans make different cognitive responses in relation to the five senses including the senses of touch, smell, taste and hearing caused by visual stimulation in accordance with places or situations. An analysis has been conducted based on the results of a test for visual perception and cognitive response by the investigator, and measures for improvement have been provided based on theories of cognitive responses. As the results are not based on the data of different users who have different types of visual perception and cognitive response, this study has limited objectivity, but further studies are expected to have greater objectivity as research and analysis will be conducted on various subjects with regard to visual elements which shall be classified into 7 categories. Consequently, items that have not been presented in this study including what functional and sensual responses various forms of visual elements and certain environmental elements of the VR game environment induce in users’ cognitive response and what influence they have will be investigated and verified in future studies, which will serve as a guide as how to design elements of visual expression for users when producing VR contests.

세로형 영상의 화면 구성

최송애 영남대학교 대학원 2018 국내석사

Audiovisual media have been constantly developed as a tool for expression as a result of the effort made by people to satisfy their needs for and solve problems with communication and experience. Starting with photography, which represents the starting point of audiovisual media that recreates the reality, media environment including movies, TV, and the internet have produced various types of contents according to changes in technology. Recently, the mobile media that is largely based on smartphones became an important part of our daily life. And the effort to develop optimal environment for using the mobile media led to creation of vertical videos. Until now, videos have been made in an wide format, close to the human visual field. However, mobile media are mostly used in a vertical format and, as a result, vertical videos were developed to resolve inconvenience caused by the discrepancy. In the last five years, the viewership of vertical videos has increased by over 24%. And, according to a report, in mobile environment, users are nine times more likely to watch an advertisement until the end when it is in a vertical video format than when it is in a horizontal video format. Vertical video contents are being actively produced for advertisement, music videos, and social media in South Korea and elsewhere. This study proposed the necessity to research vertical videos, which are growing in importance in the contents culture, and analyzed the relevant cases in an attempt to find the optimal screen composition for vertical videos. First, it reviewed literature related to change in media environment until development of vertical videos and defined the concept of vertical video. And, based on theories on frames, which are the most basic element in screen composition, it defined layout, icon, movement, and montage(editing) as the components of composition in order to discuss theories on screen composition. Furthermore, this study selected examples of vertical videos that were widely discussed or consumed by the public within a short period and examples of contents that are mainly based on vertical videos, for the purpose of analyzing components of screen composition based on the theories discussed earlier. And then, the analysis results were compared to horizontal videos according to the component and characteristics of screen composition of vertical videos were identified. Regarding layout, vertical videos had differences about generally used layout compared to horizontal videos. Regarding icon, when there was a human character, there was difference in use of shot or visual experience provided by the screen according to the size of the character within the frame. Also, vertical videos had unique characteristics in setting and use of props. Regarding movement, due to the difference in basic ratio of the space captured in the frames, there was difference in the icon size and other characteristics. Regarding montage, although the techniques were not diverse, shot transitions using graphic matchprovided interesting visual effects when watched on smartphones. So far, most of the contents using vertical videos focused on mobile media environment. However, As the fourth media market based on large display such as digital signage using digital information display (DID) and media tower, it is necessary to pay attention to the new role of vertical videos in them. Also, further research will need to be conducted regarding development of video contents.

비대면 교육의 몰입 제고를 위한 메타버스 디자인 요구도 분석

윤성민 영남대학교 대학원 2022 국내박사

Metaverse started grabbing attention from 2020 when it was difficult to perform face-to-face activities due to the pandemic in the whole world. Thus, each university including educational institutions is actively utilizing education through metaverse platform. Especially, in the non-face-to-face education performed in metaverse platform, the learners’ flow is very important. Therefore, in order to draw the needs analysis by understanding the design importance and satisfaction for the increase of learning flow of metaverse-based platform, this study established the concept and nature of metaverse based on preceding researches and literary cases, and then organized the elements of flow in metaverse learning environment through Csikszentmihalyi’s Flow Theory. Also, after organizing the visual/non-visual elements and attributes of metaverse design according to affordance type, this study conducted the Focus Group Interview(FGI) with experts by using those attributes as basic tools. By conducting a survey targeting the learners who experienced non-face-to-face education in metaverse platform, the first-priority needs items and second-priority needs items were drawn by verifying the Borich needs analysis and Locus for Focus graph based on the collected data. The results of this study are as follows. First, the items that should be the most preferentially considered as sensory/cognitive elements that enable learners to sensuously cognize what is happening were movement, shape, sound, and 3D graphics while the second-priority items were not considered. Regardless of the existence of actual objects in the real world, every shape, movement, sound, and 3D graphics of metaverse are the virtual space produced with computer graphics where users can interact with other users through flow. When this is not represented similar to the real world, users may have positive or negative experiences. As the primary elements of visual perception, every shape and movement of metaverse provide necessary information and make it possible to be quickly perceived and understood. Both sound and 3D graphics work as elements that enable learners to feel presence and lead them to the state of flow. In the future, the development of delicate shape & movement, graphic technology, and sound would be an element that induces learners to the state of intentional flow, raises the understanding of learning, and encourages learners’ active participation through interactions in the virtual world. Second, the functional elements are attributes that support learners to be able to complete the desired purpose or task, which is helpful for performing intentional acts. The items that should be the most preferentially considered as the items of functional attributes were avatar control function, previous work in case of rework, input function, and sharing function. Next, the items that should be the second-preferentially considered were function to adjust/complement waiting time, expression of avatar characteristics, and template function. In the functional attributes, the avatar control function is developed into not an experience in which learners control their avatars in learning environment, but an experience in which learners and their avatars are unified, which could work as an element for overcoming the low learning motivation as the learners become the subjects of learning activities for themselves. Also, the work of returning to the previous state in the process of learning performance in metaverse learning environment, is an important element that does not break the flow of learning. Both input function and sharing function enable learners to be immersed by maintaining their interest and strengthening learning motivation through Q&A, exchange of opinions, exchange of information, guidance, and feedbacks in interactions between learner and learner, learner and learning contents, and learner and professor. This interactivity is an important element of how quickly and naturally learners could accept the learning contents service in the desired method within the concrete virtual world. Third, the first-priority items of physical attributes were presence, sense of space, and readability, and the second-priority items were sense of control, intuition, corrective response to user environment, and consistency. In the metaverse learning environment, the sense of 3D space enables learners to actually feel that they are in virtual space, so the presence is a core element. Presence is to feel or perceive that oneself exists not in reality, but in the virtual world, which could be differently experienced depending on the depth of flow according to the location and color of movement in images and realistic 3D effect. Like this, the precise and high-quality digital presence is an element that accelerates learning motivation and flow by improving the presence, so the learners can experience the self-directed learning through the autonomy of spatial movement in the virtual world. Also, in order for users to perform accurate learning activities, the learners should be able to control and respond to the system for themselves by intuitively showing the relation of each content in the categorized structure and then letting them know the currently-located contents. This is the most important element between system and user. Non-face-to-face education through metaverse platform could increase the flow and learning effect through realistic technology such as Augmented Reality(AR). Receiving the class in the 3D virtual world that has been precisely represented by using avatars, learners can perform realistic interactions by sharing voice, chatting, and learning data between learner and learner, and between learner and professor just like the learning environment in the real world. This metaverse has the characteristics complexly combined with the existing video or graphics by making a virtual object, that is, two-dimensional data look overlapped in the 3D space. In the metaverse platform, learners can have realistic experiences only when actively participating in the virtual learning environment beyond simply viewing, so it would be necessary to understand user experience for the improvement of user needs and satisfaction. Moreover, based on the results of needs analysis, this study could provide implications for establishing the metaverse educational platform in the future and also complementing the required field through design items requested for improving learners’ participation and flow in the metaverse-based platform. Also, this study could be utilized as academic basic data for increasing the effects of learning flow through experiences with presence and positive effects of non-face-to-face education and design direction.

HD 영상을 위한 미디어 블루레이 제작과정 연구

김보상 영남대학교 대학원 2009 국내석사

서스펜스 영화의 오프닝 타이틀 표현 분석 연구

왕사평 영남대학교 대학원 2021 국내박사

Today, the opening title of a movie shows the intentional compression of the work and the implicit expression of the theme that the movie wants to talk about, which stimulates the enthusiasm of the audience with another movie in the movie, and is used as a new means of publicity and communication. At this point, the role of the movie's opening title is not only to convey the information, but also to process it, such as the effectively delivering the content, or actively considering how to use it. This is because communication with the audience as well as the artistic value of the film can be increased. On the other hand, film sign, as a comprehensive medium, has always been one of the main research subjects of semiotics in the present age. Film sign mainly uses sound and image as a medium. Due to its complexity, it has become a research area for many semiotics. Among them, Peirce is one of the people who laid the foundations of the modern semiotics, and he was the person who introduced a new element called the interpretive body. Therefore, in this study, the film opening title is conducted by using the method sign, which means the process of expression of activity in the sense of the Perth semiotic ternary structural symbol model 'representation, object, body interpretation, and three major symbols (icon symbol, index symbol, and symbol symbol). We intend to study the process of shaping in depth. Films discussed in this study are selected from domestic and foreign film festivals (Art Award Winners) based on the Korea Film Crimson Commission’s Total Cinema Ticket Integrated Network (KOBIS), which are in the top 100 films rated by the audience mobilization released in Korea for 10 years from 2010 to 2020. And five opening title films of the suspense genre, are also selected, which have been recognized for both workmanship and commercial properties. In particular, the key analysis target of the study is to study the semantic application characteristics of the opening titles for suspense films. The reason is that the suspense films maximize the audience's anxiety and tension, which stimulates the unconscious pleasure of fear and anxiety that exist in the human psyche. Until now, it is confirmed that the opening title in suspense films deals with the theme of the film by showing intentional compression and connotation of the work through the process from the iconographic image acting as an index to interpretation. Meanwhile, it is also confirmed that the selected five openings are live-action-oriented opening titles that are connected to the second act of the movie, which is a bit disappointing as it is limited to Korean suspense films. However, along with the video image, the size of the cinematic device, the camera shot, the camera movement, the camera angle acted as indicators, and the editing rhythm, it is found that it has an important symbolic meaning in which tension rises or falls. In summary, it is confirmed that the movie opening title viewed from Peirce's semiotic point of view is interpreted more freely and richly by constructing a video image based on understanding the relationship between elements. As such, Peirce's semiotic interpretation does not simply present the surfaced meaning of the title, but expresses and delivers the implied meaning through interaction and connection with the sign language. It is confirmed that in the process of creating works of the suspense genre, an increasingly intense and clear artistic personality are formed. Therefore, it cannot say that Peirce's semiotics perfectly expresses the character's emotions or the atmosphere of the movie when interpreting the opening title of the movie, but the object or situation interpreted in the process of analyzing the expression of the opening title in the movie affects human emotions. It is confirmed that understanding of the interaction between icons and indicators can further reinforce the delivery of cinematic effects. Therefore, thorough preparation for Perth semiotics and fresh, novel, and new attempts beyond typical methods are required for a work with self-expression ability in the scene stage. Based on the results presented in this study, if the theme of the movie can be more easily conveyed to the audience when the opening title is produced, and the symbolic interpretation through signs is smoothly performed through mutual meaning, then the audience who watches the movie will be interested in the opening title. That is, the more you focus on the movie, the better you will understand the movie. Therefore, from this study, I hope that it is possible to recognize the importance of the opening titles in Korean films and to create various opening titles that can make use of the characteristics of the films. With this study as an opportunity, in the future, through the methodology of analyzing the opening titles of genre films in a more in-depth, it is expected that the efficiency of the opening title in Korean films can be substantially improved. 오늘날 영화 오프닝 타이틀은 작품의 의도적인 압축과 영화가 말하고자 하는 주제의 함축적 표현을 보여 주고 영화 속 또 다른 영화로 관객의 열정을 자극하며 새로운 홍보와 소통의 수단으로 활용되고 있다. 이러한 시점에 영화의 오프닝 타이틀의 역할은 단순한 정보 전달이 아니라 어떻게 가공하고, 어떤 방식으로 효과적으로 콘텐츠를 전달하며, 또는 어떻게 활용할지 적극적으로 고민해야 한다. 이는 관객과의 소통은 물론 해당 영화의 작품적 가치도 높일 수 있기 때문이다. 한편 종합 매체로서 영화 기호는 언제나 현시대 기호학의 주요 연구 대상 중의 하나이다. 영화 기호는 주로 소리와 영상을 매개로 하며, 그 복잡성으로 인하여 많은 기호학자의 연구 영역이 되었다. 그 중 퍼스는 현대 기호학의 기초를 세운 사람 중의 하나로, 해석체라는 새로운 요소를 등장시킨 인물이다. 이에 본 연구는 퍼스 기호학 삼항 구조 기호 모델 ' 표상체, 대상,체 해석체, 3대 기호(도상 기호, 지표 기호, 상징 기호)라는 의미의 활동표현 과정을 의미하는 방식 기호를 활용하여 영화 오프닝 타이틀의 형상화 과정을 심도 있게 연구하고자 한다. 본 연구를 위한 분석 대상 영화는 2010부터 2020까지 10년 동안 국내 영화 개봉 영화 중 관객수 동원율 100위권 내에 있는 대한민국 영화 진홍위원회의 영화관입장권 통합전산망(KOBIS) 집계를 그 기준으로 선정한 국내 외 영화제 (예술 수상) 및 영화로서 작품성과 상업성의 조건을 모두 인정을 받은 서스펜스 장르의 영화 오프닝 타이틀 영화 5편을 선정하여 분석하였다. 특히 연구의 핵심 분석 대상은 서스펜스 영화의 오프닝 타이틀을 대상으로 의미 적용적인 특징을 연구하고자 하였다. 이유는 서스펜스 영화는 관객의 불안감과 긴장감을 극대화 시켜 인간의 심리 속에 존재하는 두려움과 불안에 대한 무의식적 쾌감을 자극하기 때문이다. 지금까지의 분석 결과 도상적 이미지가 지표로 작용하여 해석에 이르기까지의 과정을 통해 서스펜스 장르의 영화 오프닝 타이틀은 작품의 의도적인 압축과 함축적 표현을 보여 주며 영화의 주제를 다루었다는 것을 확인하였다. 한편 5개의 오프닝 모두 실사 위주의 오프닝 타이틀로 영화의 2막과 연결되게 진행되고 있음도 확인하였는데 이는 한국의 서스펜스 영화에 국한 되어 있어 조금 아쉬운 대목이다. 하지만 영상 이미지와 함께 영화적 장치인 카메라 쇼트의 크기, 카메라 움직임, 카메라 앵글이 지표로 작용하였고 이와 함께 편집의 리듬으로 긴장감이 고조되거나 다운되는 중요한 상징적 의미를 내포하고 있음을 알 수 있었다. 정리하면 퍼스의 기호학 관점에 본 영화 오프닝 타이틀은 요소들 간의 관계 파악을 기반으로 영상 이미지를 구축하여 이미지가 더욱 자유롭고 풍부하게 해석됨을 확인하였다. 이처럼 퍼스의 기호학적 해석은 단순히 타이틀의 표면화된 의미를 제시하는 것이 아니라 기호체로 상호작용과 연결을 통해 함축된 의미를 표현하고 전달한다. 서스펜스 장르의 작품 창작 과정에서도 점점 강렬하고 선명한 예술적 개성을 형성하게 되었다는 것을 확인시켰다. 이와 같이 영화 오프닝 타이틀에 대한 해석 시 퍼스의 기호학이 인물의 정서나 영화의 분위기를 완벽하게 표현한다고 말할 수는 없지만 영화의 오프닝 타이틀 표현 분석 과정에서 해석되는 대상이나 상황이 인간의 정서에 영향을 미친다는 사실을 확인할 수 있었고 도상과 지표의 관계에 대한 상호작용에 대한 이해가 영화 효과의 전달을 더 강화할 수 있음을 확인하였다. 이에 자체 표현의 영역을 가지고 있는 장면 단계에서 자기표현 능력을 갖춘 작품을 위해 퍼스 기호학에 대한 철저한 준비와 신선하고 참신하며 전형적인 방법을 넘어 새로운 시도가 필요할 것이다. 본 연구의 결과를 토대로 오프닝 타이틀 제작 시 더욱 쉽게 영화의 주제를 관객에게 잘 전달할 수 있고 기호를 통한 상징적 해석이 상호 의미작용으로 원할하게 이루어진다면 영화를 보는 관객은 오프닝 타이틀에 대한 흥미와 그를 통해 영화에 대한 집중도가 커지며 영화를 더 잘 이해할 수 있을 것이다. 따라서 이를 시작으로 한국영화 오프닝 타이틀의 중요성을 인식하고 영화의 성격을 잘 살릴 수 있는 다양한 오프닝 타이틀을 만들 수 있기를 바라며 이 연구를 계기로 앞으로 좀 더 심층적인 장르 영화의 오프닝 타이틀 분석의 방법론을 통하여 한국 영화의 오프닝 타이틀 효율을 실질적으로 발전시킬 수 있기를 기대한다.

애니메이션에 나타난 중국전통 문화 표현에 관한연구

번건수 영남대학교 대학원 2021 국내석사

China has a long history and abundant cultural elements, and ancient traditional culture amazes the world with its splendor. With the development of China, many people become interested in the traditional Chinese culture, and the “Chinese style” comes into being internationally. Many traditional elements of China have been incorporated into direct modes of media dissemination such as films and animations. Att he same time, world-renowned animation companies have also produced animation works with the theme of traditional Chinese culture. Animation is an important channel for cultural dissemination. The current animation workers shouldertheimportanttaskofinheriting traditional culture. However, animation produced in China only receives certification for a short period of time. In addition, Chinese animation lacks Chinese characteristics and international competitiveness, which is concerned by some Chinese people. Therefore, this study starts with a question: Why does the application of Chinese traditional elements of animation discovered and newly created by the United States touch the hearts of so many audiences? Under the influence of globalization, this phenomenon cannot even be called a cultural invasion, but it should be deeply recognized that globalization is a real competition at present. This study is conducted to foster the ideology expected by the target of dissemination and explore the dependence and recognition on the culture. Indeed, the influence through culture can reach cultural erosion. Therefore, this study mainly aims to analyze the application method of Chinese culture to find out how animation can reflect elements of traditional Chinese culture. The research method is precisely analyzed through animation of three representative works, which is the core of the study. The selected animations are <Kung Fu Panda 1>, <Kung Fu Panda 2>, and <Kung Fu Panda 3> by Dream Works. There are two reasons for the selection. First, the animation is produced based on traditional Chinese culture and has been recognized worldwide. Besides, since it is a trilogy, it is possible to understand the change in the expression of traditional Chinese culture over time. According to the result of analysis, the following traditional Chinese elements are mainly used in American animation:(1) the cultural symbol that symbolizes the meaning of China,(2)China’s unique cultural spirit,(3) China’s famous landscape architecture. These three Chinese elements can best represent Chinese culture. The cultural code is not only a clear sign representing the Chinese image but also the best vehicle for recognizing Chinese culture from the outside world. The thought of confucianism and taoism reflected in <Kung Fu Panda> is the spirit of Chinese nation. Hollywood shows an understanding of the spirit of the Chinese nation by expressing Chinese ideology and thought. The cultural symbol is a clear marker representing the Chinese image as well as the best vehicle for recognizing China from the outside world. Hollywood animation has expressed many of these cultural elements. The natural scenery with Chinese characteristics, the shape of the origin of the story in the movie <Kung Fu Panda>, refers to the original appearance of Lijiang and Guilin. Films and animations are the important routes for Westerners to learn about the culture and customs of Eastern countries. Thus, a film with a foreign culture can attract more audiences in the United States and other countries. In addition, the familiar local scenery makes Chinese audiences find a sense of belonging more in the film. This can also be found in the animation of the <Kung Fu Panda> series. In Hollywood, famous story materials have been applied in the process of using traditional Chinese elements. Through analyzing the expression of traditional Chinese elements in the animation of the Kung Fu Panda series, this paper found that the use of Chinese traditional elements in American animation is never simply imitated or applied, and Chinese traditional culture is developed with an attitude of critical learning. The process by which American animation designers use Chinese elements is a process from the outside to the inside, from the shallow to the deep. By excavating the content of traditional Chinese elements and understanding their meaning, Hollywood cleverly incorporates Chinese elements into the film. In reality, American animation has obtained huge commercial value and market income by imitating Chinese traditional elements, describing its own culture, and spreading its own values ​​as well as forms of consciousness. If so, China could use America’s success as a mirror. Exploring and innovating in China’s ‘national style’ is the path to the rise of Chinese animation. If Chinese film and animation wants to enter the international stage, it must introduce the Chinese story, start from the innovation of animation, and promote and influence the structure of the animation school to produce animation with Chinese and global characteristics. If the culture and animation can be combined with each other, and classic and innovation are combined to create animation works with excellent national characteristics, then Chinese animation will bring greater development in the world in the future.

모션그래픽을 활용한 리치미디어의 광고표현 연구

이성희 영남대학교 대학원 2009 국내석사