멜로영화와 여성성

김윤선 한국여성문학학회 2006 여성문학연구 Vol.15 No.-

신여성에 소개된 영화들의 대부분은 여성 독자를 고려한 멜로영화이거나 멜로드라마적 성격을 포함하고 있는 영화였다. 이에 주목하여 본고는 영화관객으로 부상한 여성 대중의 문제와 여성 영화로 자리 잡기 시작한 멜로 영화를 여성주의적 관점에서 조명하였다. 영화가 조선에 수입된 초기, 여성은 관객층에서 소외되었거나 남성 관객을 위한 전략적 도구로 활용되었다. 1920년대 신여성의 영화 관련 기사는 여성 관객으로서의 신여성의 대두와 연애의 수사로 충만한 극장관의 발견을 보여준다. 1930년대 이후 식민지 조선의 영화는 무성영화 시대에서 유성영화 시대로 접어든다. 유성영화 시대 외화의 관람은 자막을 읽을 수 있는 문식력(literacy)을 필요로 했으며, 이는 여성 중에서도 교육을 받은 신여성들이 유성영화의 주관객이 될 수 있었음을 의미했다. 신여성에 소개된 서구의 멜로영화는 가족과 사랑을 방해하는 여성 악인의 등장, 자녀에 대한 사랑의 절대화, 부부 사랑의 승리, 국가와 가족의 갈등 관계를 통해 근대 가부장제를 공고히 하는 데 기여한 반여성주의적 성격 역시 내재하고 있었다. Melo-Movies & Femininity - Based on the Articles in New Women Most of the movies introduced in 「New Women」 were female melo- movies or melodramatic movies considering female audience. Taking notice of it, this essay illuminated the problems of female public emerging as a movie audience, and the characteristics of melo-movies getting settled as female movies, from the viewpoint of feminism. In the early stage of introduction of movies to the Joseon dynasty, women were ignored from the type of audience or used as a strategic tool for male audience. In 1920's, the articles relating to movies in 「New Women」 showed rise of new women as female audience, and revelation of a viewpoint on theater full of rhetorics about love. Since 1930's, the movies of colonial Joseon entered the sound movie days out from the silent movie days. Viewing of foreign sound movies needed literacy to read subtitles, and it meant that the new women educated among the female could be the main audience of the sound movies. The western melo-movies introduced in 「New Women」, was involving as well the characteristic of antifeminism which contributed to solidification of the modern patriarchism through appearance of female baddies disturbing family and love, absolutization of love to children, victory of love between husband and wife, and the conflicting relation between country and family.

한국 기획영화에 관한 연구

서성희(Seo Seong Hee) 한국영화학회 2007 영화연구 Vol.0 No.33

The Korean movies in 1970s and 1980s were stagnant and then suddenly a powerful change occurred. It was Marriage Story released in 1992. It drew a lot of audiences. About 526000 people watched the movie only in Seoul. From then on, the movies, which have on eye not to an art but to a box-office value, and are made out of a planning of a producer, not out of a director's sensibility, have appeared one after another. Those movies are much better than the earlier movies in visual aspects. People came to think that they could make a lot of money by making movies in Korea and large companies began to invest in the movies. Many elite groups, so to speak, people who graduated Universities, have participated in the film world since then. They were the very people who accomplished the change on generations. In a word, the history of Korea Merchandising Movies is the history of Korean industrial movies. That is, Korea Merchandising Movies have had an important role in industrializing Korean Movies directly. This study is for examining the history of Korea Merchandising Movies, one of the important factors in forming the map of Korean movies and establishing a base for an improving Korean movies. This study consists of the original background of Korea Merchandising Movies and their qualities. The process of democratization in 1980s Korean Society brought about a change of people's consciousness about movies. After amendment of Korean Film Law, the rise of video had large companies invest and Korean film world was well supplied with money. On that ground, the change on generations occurred and Korea Merchandising Movies were created as a part of desperate efforts for a better circumstance of movie production. These Korea Merchandising Movies have been the power for growth of Korean movie industry in that they have made it possible for competent producers to analysis the taste of audiences and they reflect the social and cultural trends in society and they enable the system which is marked by original and new items to root in Korean film world.

특집논문 : 경술국치 100년, 식민지 시기 조선영화 ; 「활동사진필름검열규칙」의 시행과 "경찰적 견해"의 이중검열에 관한 고찰

복환모 ( Whan Mo Bok ) 한양대학교 현대영화연구소 2010 현대영화연구 Vol.6 No.1

Censorship on movies in Chosun by the Japanese Empire was enforced consistently on the purpose of harmony between Japan and Chosun as well as `the special circumstances in Chosun`. What it means of `the special circumstances in Chosun` should be the ruling ideology of the Japanese Empire in Chosun, where was full of anti-Japanese spirit and resistance against their colonial rule. Even though the censorship system on movies had nothing difference from the one for Japan in view of the outward appearance, the censorship on movies in Chosun was much severer due to that special circumstances. This was because it had to pass through another censorship so called as `point of view as the police` together with the enacted censorship system on movies. In Chosun, there were so many occasions to be cut or to be banned by a point of view as the police even for movies once passed through censorship. In Chosun, movies were controlled strictly without any principles by such double censorship system on movies for that reason of `special circumstances in Chosun`. This acted also as a tremendous problem detrimental to development of movies in Chosun. What the institutionalization of censorship on movies had been regularized during the Japanese colonial rule should have been since 1926 when the censorship regulation on motion picture film had been enforced. By enforcement of this regulation, a systematic censorship on movies had been in operation on a national scale. The reason why the Japanese Empire had enforced this regulation was for a contribution to the convenience of film screening. However, we can see that they aimed mainly rather to control movies through censorship than it. Especially, the Japanese Government General of Chosun maintained the public peace and order in Chosun through this regulation and also maximized to use movies for their colonial rule as it increased the strictness of censorship by the point of view as the police. In this study, we examined the double structure in control of movies during the period of Japanese colonial rule by research of censorship conditions under the Censorship Regulation on Motion Picture Films and control of movies by `point of view as the police`.

한국 ‘B급 영화’ 정체성 탐색을 위한 비평장 고찰

조주영(Cho Juyoung),안숭범(Ann Soongbeum) 인문콘텐츠학회 2015 인문콘텐츠 Vol.0 No.37

국내 영화 비평장엔 한국의 고유한 사회문화적 맥락이 작동한다. 그러나 그 안에서 ‘B급 영화’란 용어는, 미국영화의 오랜 전통 속에서 다듬어져 온 ‘B movie’ 개념을 느슨하게 적용한 결과로 존재해 왔다. 그래서 이 글은 한국 B급 영화의 고유한 정체성 탐색을 위해 1990년대 중반 이후 본격적으로 형성된 B급 영화에 관한 국내 비평장을 면멸히 살펴보고자 한다. 요약하자면, 오늘날 한국에서 B급 영화로 불리는 작품들은 B movie에 대한 미국인의 고답적인 편견들을 부분적으로 공유한다. 그러나 그와 구분되는 속성을 분명하게 지니는 바, 이는 B급 영화를 둘러싼 전문평자들의 인식과 태도에 변화를 요구한다. 좀 더 부연하면, 국내 B급 영화 역시 자극적 오락성이 비등한 작품, 장르 혼종이나 탈장르화를 전략적으로 꾀한 작품이라는 인상이 강하다. 또 기존의 영화문법으로부터 자율적 성격을 가지며 키치(Kitsch), 패러디(Parody), 오마주(Hommage), 패스티시(Pastiche) 등으로 읽히는 장면들을 다수 포함한다. 그러나 최근 B급 영화 상당수는 작품 내적 측면에서, 혹은 산업적 측면에서 주류영화 시장 안에 이미 진입해 있는 것으로 보인다. 더 이상 B급 영화가 소수의 컬트(Cult)적 관심 속에 하위문화의 일부로 존재하지 않는 셈이다. 이 글은 그러한 사실을 논증하면서 B급 영화의 변화된 성격을 세부적으로 파악하고자 한다. 바라건대, 미진한 연구물이지만 이 글을 경유해 한국 B급 영화에 대한 독자적이고 체계적인 시선이 예각화 될 수 있길 기대한다. Korea’s domestic movie critics follow the indigenous sociocultural context of our nation. However, the term "B-movie" has been existing as a result of loose application of the term formed within the long tradition of American movies. In this work, I will analyze the domestic critics about B-movies which began in ernest after mid-1990s to closely investigate the inherent identity of Korean B-movies. In conclusion, the recent Korean B-movies partially share the high-toned understanding and logic Americans have toward their B-movies. However it clearly bears significant differences in qualities which demand changes in understanding and attitude of professional critics about B-movies. To explain further, domestic B-movies also gives an impression that they are made with stimulating entertainment factors or are making tactical attempt of hybridism in genre or decategorization. Also, they are autonomous from existing rules of movies and include scenes that can be translated as kitsch, parody, homage or pastiche. However, looking at their internal or industrial aspects, many recent B-movies seem to have entered the mainstream movie market. This means that B-movies no longer exist only as a subculture under minor cult interests. This work demonstrates the fact and also aims for more detailed understanding of transformed characteristics B-movies now have. Though not perfect, I hope this paper would sharpen the methodical and independent view people have about Korean B-movies.

공포와 죄의식의 이중주: <장화, 홍련>, <거미숲>, <소름>을 중심으로

임유경 문학과영상학회 2010 문학과영상 Vol.11 No.3

This paper critically examines what the movies <A Tale of Two Sisters>, <Spider Forest>, and <Sorum> have in common, particularly in terms of how the male/female characters are represented. Furthermore this study also aims to investigate not only how the motherhood could be embodied but also what functions it performs and where the epicenter of horror is located. The paper also explores these movies’ coordinations within the category of Korean horror movies, from a broad perspective. These movies simultaneously attempt the aesthetic consideration of invisible horror. In other words, the movies raise the questions “Where is the ghost?” or “Where the horror comes from?” to the audience, and finally raise a question about a guilt. Actually, in these movies, the importance of ghosts as visible and physical entities was noticeably reduced; the ghosts do not even appear at the beginning. Rather, the ghosts in the three movies are psychological derivatives which reflect the desires of the observers, recognizers, and imaginers. What, then, does it mean by raising a question about a guilt? Diverse answers can be given for this question, but above all, while the question is dealt with in earnest, the form of choice, which the characters could select, have been changed. In other words, the protagonists face the problem, such as “being killed or going crazy” rather than “killing the other (the ghost) or being killed by it.” This is because the epicenter of horror is located inside the subject but not in the other characters or in any external object. Meanwhile, raising a question about a guilt collapses the formula “the location of horror is the body of subject, who is dead but still alive.” That is, the location of horror comes form “the ordinary-looking subject,” which raises the possibility of making everyday life more unstable. This paper critically examines what the movies <A Tale of Two Sisters>, <Spider Forest>, and <Sorum> have in common, particularly in terms of how the male/female characters are represented. Furthermore this study also aims to investigate not only how the motherhood could be embodied but also what functions it performs and where the epicenter of horror is located. The paper also explores these movies’ coordinations within the category of Korean horror movies, from a broad perspective. These movies simultaneously attempt the aesthetic consideration of invisible horror. In other words, the movies raise the questions “Where is the ghost?” or “Where the horror comes from?” to the audience, and finally raise a question about a guilt. Actually, in these movies, the importance of ghosts as visible and physical entities was noticeably reduced; the ghosts do not even appear at the beginning. Rather, the ghosts in the three movies are psychological derivatives which reflect the desires of the observers, recognizers, and imaginers. What, then, does it mean by raising a question about a guilt? Diverse answers can be given for this question, but above all, while the question is dealt with in earnest, the form of choice, which the characters could select, have been changed. In other words, the protagonists face the problem, such as “being killed or going crazy” rather than “killing the other (the ghost) or being killed by it.” This is because the epicenter of horror is located inside the subject but not in the other characters or in any external object. Meanwhile, raising a question about a guilt collapses the formula “the location of horror is the body of subject, who is dead but still alive.” That is, the location of horror comes form “the ordinary-looking subject,” which raises the possibility of making everyday life more unstable.

정통서부극과 마카로니 웨스턴의 비교 : 주제, 성격, 제작 환경 등을 중심으로

양삼석(Ryang, Sam-seok) 부산대학교 인문학연구소 2020 코기토 Vol.- No.90

미국의 10센트 소설을 바탕으로 하여 20세기 초에 등장한 서부극은 많은 변화를 거쳐 현재에 이르고 있다. 서부극의 주류를 형성하고 있는 정통서부극과 마카로니 웨스턴은 몇 가지 측면에서 비교⋅분석할 수 있다. 첫째, 주제 면에서, 정통서부극이 정의의 구현과 권선징악을 표방하는데 반해, 마카로니 웨스턴은 부정의가 합리화 되고, 선과 악의 경계가 모호한 경우도 있다. 또한 정통서부극은 프런티어 정신을 구현하는 과정에서 미국식 민족주의와 패권주의가 합리화 된다. 그러나 마카로니웨스턴의 경우 권선징악과 미패권주의라는 명분에 내재된 미국식 위선주의를 비판한다. 둘째, 영화의 진행과정과 특징에 있어서 마카로니 웨스턴의 경우 개인과 개인 간의 갈등보다 집단(백인)과 집단(인디언) 간의 갈등이 상대적으로 많은 데 반해, 마카로니 웨스턴의 경우 현상금이나 현상 수배자를 둘러싼 개인 또는 패거리간의 경쟁이 많다. 셋째, 미술, 의상, 소품 등과 관련해 정통서부극에서는 열차가 (우월한) 동부의 문화를 (미개한) 서부로 전달하는 상징적 의미를 가지나, 마카로니 웨스턴에 있어서는 열차가 본연의 기능을 수행한다. 의상 면에서, 정통서부극의 경우 출연자들이 조끼 등 평상복을 많이 입으며, 인디언의 경우 고유복장이 대부분이다. 이에 반해 마카로니 웨스턴에서는 망토 등 특이한 형태의 복장이 상대적으로 많이 등장한다. 넷째, 정통서부극의 경우 미국자본으로 제작된 것이 대부분이다. 로케이션 역시 미국에서 주로 행하여졌으며 녹음 역시 영어로 된 것이 대부분이다. 이에 반해 마카로니 웨스턴의 경우 이탈리아, 스페인 계통의 제작진과 자본이 주를 이루고, 로케이션 역시 스페인, 이탈리아 등이 대부분이다. Western movies, which appeared in the early 20th century based on American dime-cent novels, have undergone many changes to the present day. Mainstream western and macaroni western movies can be compared and analyzed in several ways. In terms of subject matter, mainstream western movies advocate the promotion of virtue and the prohibition of vice. On the other hand, there are occasions when macaroni western movies rationalize injustice, and blur the boundary between good and evil. Mainstream western movies also support American nationalism and hegemonism in the process of embodying the Frontier spirit. However, macaroni western movies criticize the American-style hypocrisies which are inherent in the promotion of virtue and the prohibition of vice, and American hegemonism. With respect to the progress and characteristics of the film, mainstream western movies cover relatively many conflicts between groups (white people) and groups (Native American) than conflicts between individuals. But macaroni western movies cover conflicts between individuals or groups who grab persons wanted and bounties. And mainstream western and macaroni western movies have different symbolic meanings in relation to cinematic art, costumes, and props, etc. Especially, trains in the mainstream western movies convey that eastern American culture take the precedence over western American culture. But in the macaroni western movies, trains perform their original functions. In terms of costumes, actors wear a lot of casual or traditional clothes in the mainstream western movies. On the other hand, actors in macaroni western movies put on relatively unusual types of clothing such as capes. Most of the mainstream western movies are produced with American money, and their backgrounds are U.S.A., and the language used in the movies is English. In contrast, most of macaroni western movies are made with Italian and Spanish money and staff, and filmed on location in Spain and Italy.

개혁개방 이전 중국에 대한 북한 문화의 영향력 : 1950∼70년대 중국의 북한 영화 수입을 중심으로

황영원 연세대학교 국학연구원 2016 동방학지 Vol.177 No.-

From the 1950s to the 1970s, a lot of North Korean movies were imported from North Korea to the People’s Republic of China. These movies were dubbed and shown in cities. The number of North Korean movies imported into China was second only to the number of Soviet movies. During the Cultural Revolution, movies made in the Soviet Union were no longer imported into China for political reasons, while North Korean movies continued to be. In particular, a number of well-made movies, such as “The Flower Girl”, gained huge popularity in China. This popularity could be explained by several factors: the development of the North Korean film industry, the relatively stable relationship between North Korea and China, and the historical experience that the two countries shared. The movies imported from North Korea could be divided into four types: revolutionary movies, war movies, movies about the establishment of socialism, and spy and anti-spy movies. During the Cultural Revolution, in particular, North Korean movies attracted many Chinese people – especially well-educated youths and teenagers – as their vivid storylines, beautiful music, and excellent depiction of human nature appealed to those who were losing interest in the revolutionary movies of their own country. Indeed, the influence of North Korean movies was so powerful that they are still remembered today by Chinese people who lived in the 1950s~1970s. This contributes to perpetuating the good memory of the traditional relationship between China and North Korea. 개혁개방 이전 대량의 북한 영화가 중국에 수입, 유통 되었는데, 주로 도시 지역을 중심으로 상영되던 북한 영화는 그 역제편(譯制片) 횟수에서 소련의 뒤를 이어 두 번째일 정도였다. 문혁시기를 전후하여 소련 영화 수입이 거의 두절된 것과 달리 북한 영화는 지속적으로 중국 사회에 유입되었으며 「꽃 파는 처녀」와 같은 명작들은 당시 중국 인민들에게도 인기를 끌었다. 이 시기 중국에 수입된 북한 영화는 유형별로 혁명 영화, 조국해방전쟁영화, 건설 영화, 첩보 영화가 있는데 이들은 북한 영화 자체의 경쟁력, 북중 관계의 밀접함, 양국이 지닌 역사적 경험의 유사성을 바탕으로 중국 사회에서 상당한 흡인력을 지닐 수 있었다. 특히 문화 콘텐츠가 빈곤하였던 문혁시기에 이르면 북한 영화는 중국 문화시장에서 생동감 넘치는 스토리, 아름다운 음악, 휴머니즘의 요소를 바탕으로 중국 대중들에게 정신적 영향력을 행사하였다. 1950년대부터 70년대까지 중국에 수입되었던 북한 영화는 오늘날에도 회고 및 기억의 재생산이라는 형태를 통해 중국 사회에 우호적이었던 과거 북중 관계를 전달하는 매개체가 되고 있다.

개혁개방 이전 중국에 대한 북한 문화의 영향력 : 1950∼70년대 중국의 북한 영화 수입을 중심으로

( Huang Yongyuan ) 연세대학교 국학연구원 2016 동방학지 Vol.177 No.-

개혁개방 이전 대량의 북한 영화가 중국에 수입, 유통 되었는데, 주로 도시 지역을 중심으로 상영되던 북한 영화는 그 역제편(譯制片) 횟수에서 소련의 뒤를 이어 두 번째일 정도였다. 문혁시기를 전후하여 소련 영화 수입이 거의 두절된 것과 달리 북한 영화는 지속적으로 중국사회에 유입되었으며 꽃 파는 처녀 와 같은 명작들은 당시 중국 인민들에게도 인기를 끌었다. 이 시기 중국에 수입된 북한 영화는 유형별로 혁명 영화, 조국해방전쟁영화, 건설 영화, 첩보 영화가 있는데 이들은 북한 영화 자체의 경쟁력, 북중 관계의 밀접함, 양국이 지닌 역사적 경험의 유사성을 바탕으로 중국 사회에서 상당한 흡인력을 지닐 수 있었다. 특히 문화 콘텐츠가 빈곤하였던 문혁시기에 이르면 북한 영화는 중국 문화시장에서 생동감 넘치는 스토리, 아름다운 음악, 휴머니즘의 요소를 바탕으로 중국 대중들에게 정신적 영향력을 행사하였다. 1950년대부터 70년대까지 중국에 수입되었던 북한 영화는 오늘날에도 회고 및 기억의 재생산이라는 형태를 통해 중국 사회에 우호적이었던 과거 북중 관계를 전달하는 매개체가 되고 있다. From the 1950s to the 1970s, a lot of North Korean movies were imported from North Korea to the People`s Republic of China. These movies were dubbed and shown in cities. The number of North Korean movies imported into China was second only to the number of Soviet movies. During the Cultural Revolution, movies made in the Soviet Union were no longer imported into China for political reasons, while North Korean movies continued to be. In particular, a number of well-made movies, such as “The Flower Girl”, gained huge popularity in China. This popularity could be explained by several factors: the development of the North Korean film industry, the relatively stable relationship between North Korea and China, and the historical experience that the two countries shared. The movies imported from North Korea could be divided into four types: revolutionary movies, war movies, movies about the establishment of socialism, and spy and anti-spy movies. During the Cultural Revolution, in particular, North Korean movies attracted many Chinese people - especially well-educated youths and teenagers - as their vivid storylines, beautiful music, and excellent depiction of human nature appealed to those who were losing interest in the revolutionary movies of their own country. Indeed, the influence of North Korean movies was so powerful that they are still remembered today by Chinese people who lived in the 1950s~1970s. This contributes to perpetuating the good memory of the traditional relationship between China and North Korea.

VR 영화 속 게임 메커니즘이 감정 인지에 미치는 영향

선자둥,이용수 한국애니메이션학회 2023 애니메이션연구 Vol.19 No.3

초기의 VR 영화는 일반적으로 360도 파노라마 영상 형식으로 구현되어 관객은 가상현실 안경이나 머리착용 디스플레이(Head mounted Display, HMD)를 통해 체험할 수 있었는데, 이러한 VR 영화는 전통적인 영화 관람에 대한 시각과 각도의 확장으로 시청각 언어 측면에서 큰 변화가 없었으며 둘 다 수동적 관람이다. 상호작용성은 VR 영화 발전의 중요한 방향이며, 이는 VR 영화가 전통 영화와 본질적으로 차별화되는 특성이다. VR 영화는 상호작용, 게임 메커니즘 및 스토리를 결합하여 관객이 영화 내용의 발전과 결말에 더 참여할 수 있도록 했다. 시청자는 핸들, 터치 장치 또는 신체 동작을 통해 영화와 상호작용할 수 있으며 가상 환경의 캐릭터와 상호작용하거나 줄거리에 참여할 수도 있다. 상호작용성과 스토리성이 결합된 이러한 VR 영화는 관객들에게더욱 풍부하고 몰입감 있고 개성화된 영화 관람 경험을 제공할 수 있다. 스토리에서 감정 인지는 사람들이 영화 줄거리를 인식하고 이해할 때 감정과 정서를 포함한 인지 과정을 말한다. 감정 인지를 통해 관객은 영화와 더 깊은 감정을 연결하고 풍부한 감정적 내용을 경험하며 영화 관람 체험의질과 개인의 감정적 성장을 도모할 수 있다. 본 논문의 연구 문제는 서사 과정에서 시청자가 감정 인지를 갖도록 유도하는 데 필요한 조건 및 그들 사이의 상호 관계를 탐구하는 것이다. 또한 VR 영화에 게임 메커니즘을 추가한 후 게임 메커니즘의 네 가지 특성이 이 과정에 어떤 영향을 미치는지 분석하는 것이다. 본 논문은 창작자의 관점에서 VR 영화와 게임 메커니즘을 결합한창작에 참조할 아이디어와 방법론을 제공하고자 한다. 게임에는 네 가지 메커니즘이 있는데, 창작자는 게임의 창작 방법과 특성을 VR 영화에 통합하고 다양한 방법을 통해 서사의 전송 과정을 실현하여 관객이 상호작용하는 과정에서 영화 줄거리를 감지하고 이해하고 감정 인지를 갖도록 할 수 있다. VR 영화에서 게임 메커니즘의 사용은 서사의 전 과정을 관통한다. 본 논문에서는 연구를통해 감정 인지의 생성을 ‘현장 감각, 몰입감, 공감, 플로우(flow) 체험’의 네 가지 조건으로 요약했다. 창작자는게임의 메커니즘을 이 네 가지 조건에 통합하여 각 조건에 능동성과 상호작용성을 증가시키고 더 나은 시청각체험과 상호작용 방법을 제공하여 감정 인지의 생성을 보장할 수 있다. <Crow: The Legend> 사례 분석에 따르면 VR 영화에서 감정 인지의 발생은 ‘현장 감각, 몰입감, 공감, 플로우 체험'의 네 가지 조건을 통해 발생한다는 결론을 얻을 수 있다. 게임 메커니즘의 사용은 현장 감각을 더욱 향상하고 이야기에 몰입하는 능동성을 갖게 하며 목표를 인정함과 동시에 주인공과 함께 목표를 달성할 수 있다. 또한 심류 체험은 더욱 기능적이다. 그리고 사례 분석을 통해 특정 창작 과정에서 게임 메커니즘의 사용 규칙을요약했다. 즉, 게임 메커니즘의 규칙은 간단하고 생리학적 인지에 부합하며 피드백이 시기 적절하다. VR 영화의 목표는 관객과 영화의 주인공이 함께 하는 목표이며 목표를 달성하는 데 필요한 기능이 낮고 상호작용 동작이 간단하다. Early VR movies were generally implemented in a 360-degree panoramic image format, allowing audiences to experience them through virtual reality glasses or Head mounted Display (HMD), which did not change much in terms of audio-visual language due to the expansion of perspective and angle of traditional movie viewing, both passive viewing. Interaction is an important direction in the development of VR films, which has essentially distinguished VR films from traditional films. VR movies combine interactions, game mechanisms, and stories to allow audiences to participate more in the development and ending of the movie's content. Viewers can interact with the movie through handles, touch devices, or body movements, interact with characters in the virtual environment, or participate in the plot. These VR movies, which combine interaction and storytelling, can provide audiences with a richer, more immersive, and individualized movie viewing experience. In the story, emotional recognition refers to the cognitive process, including emotions and emotions, when people recognize and understand the movie plot. Through emotional recognition, the audience can connect deeper emotions with the movie, experience rich emotional content, and improve the quality of the movie viewing experience and individual emotional growth. The research problem of this paper is to explore the conditions necessary to induce viewers to have emotional recognition in the narrative process and the interrelationships between them. In addition, after adding a game mechanism to a VR movie, the four characteristics of the game mechanism influenced this process. This paper aims to provide ideas and methods corresponding to creation that combine VR movies and game mechanisms from the perspective of creators. There are four mechanisms in the game, and creators can integrate the game's creation methods and characteristics into VR movies and realize the transmission process of narratives through various methods to detect, understand, and have emotional recognition in the process of interaction. The use of game mechanisms in VR movies runs through the entire process of narrative. In this paper, the creation of emotional cognition through research was summarized into four conditions: 'field sense, immersion, empathy, and flow experience'. Creators can integrate the game's mechanisms into these four conditions to increase activity and interaction in each condition and to ensure the generation of emotional cognition by providing better audiovisual experiences and interaction methods. According to the case analysis of <Crow: The Legend>, it can be concluded that the occurrence of emotional recognition in VR movies occurs through four conditions: 'field sense, immersion, empathy, and flow experience'. The use of game mechanisms makes the sense of the field more realistic, makes the story more active, recognizes the goal, and can achieve the goal with the main character. In addition, the deep-flow experience is more functional. And through case analysis, we summarized the rules of use of game mechanisms in certain creative processes. In other words, the rules of the game mechanism are simple, consistent with physiological cognition, and feedback is timely. The goal of VR movies is the goal of the audience and the main character of the movie together, and the functions necessary to achieve the goal are low and the interaction movement is simple.

Translation Strategy of Sports Movie Titles

( Wei Liu ),( Wendong Li ) 한국체육학회 2015 국제스포츠과학 학술대회 Vol.2015 No.1

Purpose: Sports movies are the films featuring stories about sports persons and activities. This type of movies have won great attention and popularity among all movies because of the uplifting spirits of passion and perseverance exemplified by the sports in the movies, as well as their satisfaction of human`s desires of self-transcendence and dream-fulfillment. Therefore, sports movies have been a hot topic since its first advent 100 years ago. As a special field of translation, movie titles translation into Chinese can convey a movie`s major messages to the audience which is a great help to facilitate audience`s understanding of the film. Methods: Literature review Expert interview Case study Logic analysis Results: 1. Sports movie titles translation is subject to the influence of the factors of box office and anesthetics. It can directly impact the movie makers in whether the filming investment can be rewarded to finance further more sports movies or not. The sports spirits demonstrated through the movies are usually positively inspiring and unyielding, and the protagonists` success is achieved through step-by-step hard work to become sports stars or champions. Audience can be both informed of the stories and inspired by the sports spirits through the translation of the movie titles. 2. There are three approaches in sports movie titles translation, i.e., literal translation, liberal translation and amplification translation. 3. There are some problems in the translation of sports movie titles, such as the practice of word-for-word translation of the original English titles failing to make a good combination with the movie`s plots and subject. Conclusion: Sports movie is an art of combining audio and visual faculties, their titles translation has direct influence to the audience`s understanding of the movies` subject. It is not only an art form but also a bridge between China and other countries in cultural exchanges and an important medium of cultural input and output. Translators should make intensive study and insightful analysis of the sports movies` story and subject and strive to realize both sports movies business value and educational functions by adept use of various translation methods and techniques. Meanwhile, translators should also learn western cultures and understand the cultural differences to work out a perfect translation by achieving a balance of "faithfulness, expressiveness and elegance".