포스터 전시 : 류마티스 ; 파종혈관내응고와 다발성 장기부전을 동반한 성인형 스틸씨병 2예

심은진,이유현,이지수 대한내과학회 2005 대한내과학회 추계학술대회 Vol.69 No.10

영화의 환상성: 뤼미에르 영화에서 <매트릭스>까지

심은진 문학과영상학회 2006 문학과영상 Vol.7 No.2

영화 속의 이미지들: 빌리 와일더의 <선셋 대로>를 중심으로

심은진 문학과영상학회 2008 문학과영상 Vol.9 No.1

The main action of Billy Wilder’s Sunset Boulevard (1950) is about haughty Hollywood, full of insanity, ingratitude, and false-heart. “A film within a film” is reflected on the main action like a mirror. Some images of the film, photographs and paintings become “a film within a film.” What is strikingly noticeable in this “film within a film” is time images. Time images from photographs as well as from paintings are closely related with the main female character Norma Desmond’s madness and the main male character Gillis’ death. Scattered photographs in Norma’s living room are souvenirs of her last glory. Those photographs tell us that she does not have any possibility of glory in the present which she used to enjoy in the past. Norma’s tragic ending comes from her intended confusion of the past and the present. She aspires to restore her past status to her present one. The moment she restores the past to the present, the photographs choke Norma. Also, as death gradually approaches Norma, her portraits create unreal time, which is death itself. Gillis is almost under the same situation as Norma. The difference is that Gillis is inflicted with time images from the paintings unlike Norma, who was inflicted with the photographs themselves. At the end, the paintings beset him as if the photographs attacked Norma. The main action of Billy Wilder’s Sunset Boulevard (1950) is about haughty Hollywood, full of insanity, ingratitude, and false-heart. “A film within a film” is reflected on the main action like a mirror. Some images of the film, photographs and paintings become “a film within a film.” What is strikingly noticeable in this “film within a film” is time images. Time images from photographs as well as from paintings are closely related with the main female character Norma Desmond’s madness and the main male character Gillis’ death. Scattered photographs in Norma’s living room are souvenirs of her last glory. Those photographs tell us that she does not have any possibility of glory in the present which she used to enjoy in the past. Norma’s tragic ending comes from her intended confusion of the past and the present. She aspires to restore her past status to her present one. The moment she restores the past to the present, the photographs choke Norma. Also, as death gradually approaches Norma, her portraits create unreal time, which is death itself. Gillis is almost under the same situation as Norma. The difference is that Gillis is inflicted with time images from the paintings unlike Norma, who was inflicted with the photographs themselves. At the end, the paintings beset him as if the photographs attacked Norma.

서스펜스의 미학 : 히치콕과 봉준호

심은진 청주대학교 학술연구소 2021 淸大學術論集 Vol.37 No.-

Alfred Hitchcock emphasizes the importance of suspense in directing film. For Hitchcock, suspense is an important factor which immerses the audience in the film. The suspense begins when the audience knows something that the characters do not know. The effect of Hitchcock's suspense often appears in the films of Bong Joon-ho, who regards Hitchcock as his role model. For Hitchcock and Bong, suspense is, above all, the audience's reaction, the device that draws the audience's attention, and the device that makes the movie entertaining. The relationship between the audience, film, and director is the principle that creates suspense. Deleuze explains this three-person relationship as a 'mental image'. The ‘mental image’ actively engages the audience into the film and makes them think and judge for themselves. Unlike Hitchcock, who always pursued suspense as a film genre, Bong twists the genre itself and encourages his audience to reason. Bong’s form of suspense is a metaphor for an absurd world, as well as his method of social engagement. By twisting the genre, Bong allows his audience to be conscious of Korea’s reality and reflect on society. The mental image of Bong’s films may have been influenced by the aesthetics of Hitchcock's suspense, which focused on its 'audience', but Bong’s films lead the audience to a different level of thought. In Bong’s films, Hitchcock’s method of suspense is transformed into new ‘mental images’ which breaks and twists conventional film-making.

3D 영화에서 프레임과 외화면의 개념

심은진 문학과영상학회 2011 문학과영상 Vol.12 No.4

Frame and Off Screen of 3D Film The success of the digital 3D film <Avatar> brought a lot of changes to the perception of the film imagery. Since the birth of film, people dreamed of a “total film myth” in which frames don’t exist and the image being shown is seen as reality. This was achieved through the help of a digital 3D technique. Beyond the perspective of 3D film, the concept about frame disappears. Also, the concept of frame is being eliminated in digital image made from the combination of numbers, which is a completely different system from the analog. The omission of frames takes away the internal and external boundary of the film. It leads to the elimination of the film’s outside-the-screen concept brought by our imagination. Though digital 3D films bring us realistic images and visual amusement, it might also take away the satisfaction of intellectual will to conceptualize what we are seeing while watching movies.

작은 화면, 더 많은 사운드: 넷플릭스는 어떻게 사운드 디자인을 강조하는가?

심은진 동국대학교 영상미디어센터 2019 씨네포럼 Vol.0 No.34

In today's day and age, Netflix is a flagship of modern media which is accessible to many through various forms of technology. With Netflix, users and viewers are “accompanied” by video in their daily lives. People are able to stream films at their leisure on various devices. The novelty of Netflix's platform is expressed through the presentation of different forms of media. When people watch Netflix through mobile phones and other electronic devices, the small screen size is compensated by an effective emphasis on sound, in many of its productions. The Netflix original, Roma, by Alfonso Cuaron, is an exceptional feature due to its sound production. The beauty of Roma - and in truth, its success - lies in a somewhat harmonious contrast between simple images and complex sound. This combination is a perfect example of how Netflix highlights its production by experimenting with sound. As an “accompanying” platform, Netflix and its creation of “listening films” may be in the lead for the development of sound in filmography. 온라인과 모바일 환경에 특화되어 동영상 이미지를 제공하는 넷플릭스Netflix는 스트리밍 미디어, 디지털 전송, 순간 접속을 통해 이용자(관객 혹은 시청자)와 ‘동행하는’ 영상 미디어의 대표적인 플랫폼이다. 넷플릭스는 이용자가 있는 곳이 바로 영상을 관람하는 장소이다. 넷플릭스 관람의 특징은 이동하며 영상을 본다는 점이다. 작은 화면으로 이동하며 영상을 보는 것, 소음과 번잡함 속에서 영상에 집중하는것, 이것이 새로운 방식의 영상 관람법이다. 넷플릭스 오리지널 콘텐츠에서 사운드 활용은 이동하며 영상을 즐기는 사람들에게 개인적인관람 조건을 만들어 줄 수 있다. 사운드는 모바일이나 태블릿과 같은작은 화면의 영상 공간을 상상적으로 확장시켜 줄 수 있다. 넷플릭스오리지널 영화인 알폰소 쿠아론의 <로마>는 사운드 연출을 통해 청각매체이기도 한 영화의 특징을 잘 표현한다. <로마>가 훌륭한 것은 소리의 효과를 최대화 시킬 수 있는 이미지를 연출한 점이다. 넷플릭스 영화, <로마>의 성공은 단순한 이미지와 소리의 과잉이 만들어 낸 훌륭한 결합이다. 이 결합은 넷플릭스 관람 방식에 맞는 가장 훌륭한 연출의 예가 될 수 있다. 넷플릭스는 사운드를 통해 자신만의 관람 방식을 실험 중인지도 모른다. 넷플릭스, ‘동행하는 영상’은 사운드의 발전을 이끌고 ‘듣는 영화’를 만들어낼지도 모른다.

문화의 이동(migration)과 흔적으로서의 영화

심은진 청주대학교 학술연구소 2019 淸大學術論集 Vol.33 No.-

Movies cite images from other movies, transforming them and moving them from one movie to another. Interest in the migration of images is based on the morphology of the image of Aby Warburg. Given that the images are not continuous but restrictive, the concept of "survivance" in Warburg is linked to Benjamin's image theory. The dialectical image of Benjamin is at the point where the other two time - past and present – meet. Movies express memories of culture in images. As a comprehensive art that combines stories, music, visual images, and movies are a medium that can easily convey a country's culture. Movies lead us to different worlds, cultures, and lives. Traditional culture remains in movies as a trace. Kurosawa Akira, Im Kwon Taek, and Zhang Yimou are the representative directors who introduced their unique culture to the world through the film. They have created their own original film format by capturing traces of traditional culture in movies. Through variations residing, Noh, Kabuki, and Samurai culture represent human beings on the border between good and evil in the film Kuroswa Akira. Im Kwon Taek brings Pansori across the boundaries of time and genre into the film to convey the sentiments of Koreans. Zhang Yimou expresses the passion and vitality through intense images of color, came from Peking Opera. Through the migration of culture, film images carry trace of tradition, while expressing new meaning and expanding universal power.

디지털 게임, 영화의 위기와 도전

심은진 청주대학교 학술연구소 2017 淸大學術論集 Vol.29 No.-

Following the success of digital games armed with delicate imagery and narrative power, movies based on games have appeared. Most of them were not well-known on the box office compared to their originals. Additionally, their cinematic quality were neither praised nor appreciated. The failures evident in game movies were mostly based on the stories and characters. This study is about the difference between filmography and digital games with a concentration on image and perspective. Many expressions from movies were used in digital games, such as 3D space directing, subjective viewpoint, and the use of long take. However, the virtual reality created in the digital world is distinct from movies. Games and films are both similar and different in many ways. The failure of a movie adapted from a successful digital game comes from the misunderstanding of both media. Connection among shorts, relation between on screen/offscreen, and subject (audience)/object (screen) are important factors that form the aesthetics of filmography. These relations are absent in the virtual imagery of digital games. There is no offscreen nor montage. The game world consists of time and space of continuity and homogeneity. In this virtual world, distinction between the gamer and the image become faint and fused. With that, the ego of the subject (gamer) is split. The audience of a movie and the player of a digital game are different. To watch a film is a group experience. The same story is enjoyed in the same space and time - the theater. Movies are told by the relationship among characters. Digital game is the opposite. It is a personal experience in various stories, and time based on each gamer’s play. The world of game is for game itself, and for the gamers. Each player makes his/her own experience into a story. The moment of gaming is a solitary experience, whatever the genre is. Making a digital game into a movie is like moving an individual into a group. Movies are getting similar with digital games and vice versa. Their symbiotic relationship could be kept by understanding both differences and similarities.

알프레드 히치콕 영화에서의 메타 이미지*

심은진 청주대학교 학술연구소 2013 淸大學術論集 Vol.21 No.-

<그래비티Gravity>: 공간의 체험과 영화적 사유

심은진 글로벌 문화콘텐츠학회 2018 글로벌문화콘텐츠 Vol.0 No.32

<그래비티>, 공간적 체험, 영화적 사<Gravity> is the movie about the spatial concept. The realistic nature of the physical universe, as shown in the movie, emerged from experience instead of visual representation. As the camera, character and the object circle all together, the movie absorbs the audience into its space scenery. The rotational movement and circular composition of the movie brings an IMAX-like visual experience. From this optical experience, the audience could be deluded into thinking as if they were in the non-gravitational status while watching the movie. Cluster spaces like the space station and the escape capsule deliver a sensation of the digital game simulation to the viewers. The audience could feel exactly how Ryan felt in the movie. These cluster spaces put the audience into Ryan’s shoes and enables them to experience what Ryan must face. Ryan’s physical journey in space becomes her mental journey. The spatial concept gives Ryan fear, anxiety, loneliness, and loss. The fight against space teaches Ryan the fear of death as well as the meaning of life. The three close-up scenes on Ryan’s face imply her mental change. As the viewers watch Ryan’s experience, they are left with a thought. <Gravity> has given the traditional features of a visually pleasing movie, cinema of attractions. On the other hand, the cinematography of this movie allows the audience to explore their notions. A stunning movie with a cinematic reason: this is why you watch. <그래비티>는 공간에 대한 영화이다. <그래비티>가 표현하는 우주 공간의 사실성은 이미지의 재현이 아니라 체험에서 나온다. 카메라·인물·사물이 모두 둥글게 움직이면서, 관객을 영화 속 우주 공간 안으로 이동시킨다. 회전의 움직임과 원형의 구도를 통해 <그래비티>의 우주 공간은 아이맥스 영화관 같은 시각적 효과를 연출한다. 관객은 마치 가상 이미지의 공간처럼 <그래비티>의 우주 속에 들어가 무중력 상태의 우주 공간을 체험한다. 우주 정거장과 탈출 캡슐이라는 좁은 공간은 디지털 게임이나 시뮬레이션 라이드(Simulation ride)가 만들어 내는 감각과 움직임을 관객에게 전달한다. 관객은 주인공인 라이언의 움직임과 동일하게 느끼고, 라이언의 감각을 지각하게 된다. 좁은 공간은 라이언과 관객을 하나로 만들어 운동감각과 촉각을 느끼게 한다. 관객은 라이언이 되어 공간을 지각하고 그녀의 감각을 느낀다. 공간의 이동은 라이언에게 정신적인 여정이 된다. 공간은 라이언에게 불안과 공포, 상실과 고독을 알려준다. 또한 공간과의 투쟁은 라이언에게 죽음에 대한 두려움과 삶의 의지를 가르쳐준다. 라이언의 정신적 변화를 알려주는 세 개의 얼굴 클로즈 업 쇼트는 관객을 영화적 사유로 이끈다. <그래비티>는 눈의 즐거움과 감각을 전달하는 ‘볼거리 영화cinema of attractions’의 전통을 이어받았지만 또한 영화적 성찰과 사유를 담고 있다. 공간의 체험과 영화적 사유의 만남. <그래비티>의 탁월함은 여기에 있다.