Commenced in January 2007
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Paper Count: 3

Search results for: Somi Nah

3 Research on Hypermediated Images in Asian Films

Authors: Somi Nah, Timothy Yoonsuk Lee, Jinhwan Yu

Abstract:

In films, visual effects have played the role of expressing realities more realistically or describing imaginations as if they are real. Such images are immediated images representing realism, and the logic of immediation for the reality of images has been perceived dominant in visual effects. In order for immediation to have an identity as immediation, there should be the opposite concept hypermediation. In the mid 2000s, hypermediated images were settled as a code of mass culture in Asia. Thus, among Asian films highly popular in those days, this study selected five displaying hypermediated images – 2 Korean, 2 Japanese, and 1 Thailand movies – and examined the semiotic meanings of such images using Roland Barthes- directional and implicated meaning analysis and Metz-s paradigmatic analysis method, focusing on how hypermediated images work in the general context of the films, how they are associated with spaces, and what meanings they try to carry.

Keywords: Asian Films, Hypermediated Images, Semiotics, Visual Effects

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2 A Confucianism Observed in Disaster Films of East Asia

Authors: Timothy Yoonsuk Lee, Jinhwan Yu, Somi Nah

Abstract:

Hollywood has produced various blockbusters on the subject of disasters. Entering the 2000s, disaster films began to be produced in the East Asian region as well, and as most of them were successful, disaster films have settled as a popular genre in the region. East Asian disaster films utilize a plot structure similar to Hollywood films but, at the same time, represent East Asian people-s unique value system. East Asian people-s social behavior pattern defined as collectivism is a characteristic that distinguishes this region from other cultural regions. In order to examine Confucian culture in disaster films on the premise of the difference, the author conducts this research as follows.This study first reviews the concepts disaster and disaster film, and understands the genre through analyzing the narrative structure and style. In addition, it discusses collectivism, a characteristic of the East Asian region distinguished from the West, and investigates Confucian culture in films and examines differences among Korean, Chinese and Japanese Confucianism. Films selected for this study are Tidal Wave (Korea, 2009), After Shock (China, 2006), and The Sinking of Japan (Japan, 2006). Using the characters in these films, we analyze how Confucian thought is described and reproduced.

Keywords: Confucianism, Disaster Film, East Asian Films, Three Basic Principles and Five Moral Disciplines in Human Relations

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1 A Study on Fantasy Images Represented on the Films: Focused on Mise-en-Scène Element

Authors: Somi Nah

Abstract:

The genre of fantasy depicts a world of imagine that triggers popular interest from a created view of world, and a fantasy is defined as a story that illustrates a world of imagine where scientific or horror elements are stand in its center. This study is not focused on the narrative of the fantasy, i.e. not on the adventurous story, but is concentrated on the image of the fantasy to work on its relationship with intended themes and differences among cultures due to meanings of materials. As for films, we have selected some films in the 2000's that are internationally recognized as expressing unique images of fantasy containing the theme of love in them. The selected films are 5 pieces including two European films, Amelie from Montmartre (2001) and The Science of Sleep (2005) and three Asian films, Citizen Dog from Thailand (2004), Memories of Matsuko from Japan (2006), and I'm a Cyborg, but That's OK from Korea (2006). These films share some common characteristics to the effect that they give tiny lessons and feelings for life with expressions of fantasy images as if they were fairy tales for adults and that they lead the audience to reflect on their days and revive forgotten dreams of childhood. We analyze the images of fantasy in each of the films on the basis of the elements of Mise-en-Scène (setting and props, costume, hair and make-up, facial expressions and body language, lighting and color, positioning of characters, and objects within a frame).

Keywords: Mise-en-scène, fantasy images, films, visualization.

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