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영상미디어에 표현된 그로테스크 캐릭터 형태에 대한 연구
In this paper, how grotesque trends in modern video media have been reinterpreted and their manifestations, was studied. A type of marketing that uses identical contents and converts the contents into a variety of media and continuously provides it, One Source Multi Use (OSMU) was used as an example to obtain a sample set of grotesque characters. A single item of content is constantly redistributed, and therefore, the content developed must be developed with a positive and friendly image in the early stages for re-use, and this underlines the importance of this research. In the early stages of content development, the main part that a designer has to pay attention to is the graphics area, and research was undertaken with emphasis on the development of characters that take the lead in epics. Since the year 2000, grotesque characters that have appeared in the fantasy genre boom are causing a growth in the market by appearing converted into various types of media, through literature, movies, and video game graphics. These virtually reproduced characters prevalently have a grotesque image, and the characteristics of their forms were analysed. Historically speaking, the grotesque image was most prevalent in the Romantic 16th century and the 19th century. These periods in time were insecure and in chaos, and hence there was a lack of faith in the established set of values, leading to a phenomenon where illogical and absurd things were pursued. Therefore, the appeal of modern grotesque characters and the fantasy genre can be seen as a longing for a utopian world as in a realistic fairytale, due to anxiety caused by cutting edge science and a fast-changing society. Jean Baudrillard was a scholar who classified virtual symbols to explain the image of these grotesque characters that have characteristics that conflict with reality. Grotesque characters appearing in current examples of OSMU were analysed, utilizing Jean Baudrillard’s concept of Simulation. ‘The Lord of the Rings’ and ‘The Chronicles of Narnia’ and the ‘Harry Potter’ series were used as representative examples of OSMU, and were the objects of analyses based on form and characteristics. Looking at the results of the analyses based on the levels of Simulation, each of the characteristics shown were ambiguous in terms of image, and in accordance with William Empson’s theory, they were classified into 7 categories of ambiguity. It was possible to classify grotesque characters by analyzing the application of a visual language on to the theory of poetic language styles of adjacent disciplines. Through this classification, it is possible to know the form of ambiguity that is reinterpreted and expressed in grotesque characters of current video media, and it was discovered that the form differs depending on the role of the character. Also, to determine the relevance of form to roles according to the structure of epics, the relevance was analysed by classifying film characters by roles and connected it to previous research on the Simulation levels, characteristics, ambiguity and form. This analysis followed Greimas’ mod le actantiel and divided the roles into two; ‘Supporter’ and ‘Opponent’ and it was possible to determine the differences between the form and ambiguity of the two roles. Through these results, it was possible to find the images that grotesque characters of current video media possess, in past historical trends. It was also found out that the characters were newly reinterpreted and that they reappear differently according to the period of time. Also, relevance that follows form and role exists, and that there are characteristic features of characters that fulfill both the ‘Supporter’ and ‘Opponent’ roles and are designed to be conflicted. The concept of the completion of Grotesque characters is not that they complete themselves but their roles and form are finalised by the interpretation of the consumer, and produced by reflecting reality, thereby acquiring a varied set of characteristics. Through the research’s 3 sets of analysis results, it was possible to determine that the form of characteristics of similar characters adhere to the structure of epics specifically according to their roles. It was possible to discover the existence of a set of consistent laws of requisite forms using the analysis results as the foundation for the development of conflicted characters that induce empathy and immersion in their characters by the consumer. The research suggests that from now on, there is a potential for borrowing grotesque images that reflect a relevant period and have a specific set of abilities. It is hoped that the results of this research can be used as a primary resource as a guideline for character development and that a designer’s creative work can be supported through this in-depth research which is relevant to a past mode of art that has been reinterpreted to fit the current period.
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