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

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

고다르 영화에 나타난 메타 이미지 연구

심은진 청주대학교 학술연구소 2011 淸大學術論集 Vol.18 No.-

Godard est celui qui, touchant ? l'image, a continu? d'aimer d'un amour ?gal l'image qui s'effondre entre ses mains. Ce fut la valeur d'acte du M?pris. Elle a gard? au film son privil?ge. en associant Hom?re et Fritz Lang, il a d?limit? le cadre : le monde grec, la r?plique venue du cin?ma classique comme un nouvel ordre du mythe. Michel-Ange dans Carabiniers va pour la premi?re fois au cin?matographe. Il cherche ? voir dans l'image ce qu?il ne peut voir assis sur son si?ge : une femme nue qui vient d'entrer dans sa baignoire. Il s'approche de l'image pour tenter ? nouveau de voir ce qu'il ne peut pas voir. Attrapant le bord, il provoque la chute de l'?cran. Godard s'attaque ? ces formes anciennes pour ne rien perdre de ce qu'elle transmettent. Faire autrement du cin?ma pour pouvoir continuer ? en faire, ne rien ignorer de ce qu'il peut faire pour lui pr?ter encore et d'autant le pouvoir de tout faire. Telle est la condition de l'autre cin?aste.

영화와 디지털 이미지 : 데이비드 크로넨버그David Croneneberg의 <엑시스텐즈eXistenZ>에 대하여

심은진 청주대학교 학술연구소 2008 淸大學術論集 Vol.10 No.-

En reprenant un certain nombre de signes esthétiques et thématiques du jeu vidéo, eXistenZ met en scène une nouvelle topologie de l’image numérique et la problématise dans une fiction de cinéma. Allegra Geller dans eXistenZ a dans le corps un «pod» qui permet de brancher directement le «game-pod». Elle est un corps-machine. Dans ce film le corps-machine est un thème dominant. Chez David Cronenberg, le concept d’hybridation définit la nouvelle image. La multiplication des cuts produit des images passagères qui annulent la frontière entre le réel et le virtuel. Tout au long du film, l’absence de différence entre mondes différents laisse jusqu’à la fin le spectateur dans une incertitude. eXistenZ reste dans le territoire plus libre du cinéma. Dans ce terrain de l’imagination, sans dieu ni maître, la liberté du spectateur déborde. Notre savoir et notre imagination sont sollicités de façon ludique pour démêler l’entrelacement d’une constante mise en abyme. Key Word : 디지털 이미지, 데이비드 크로넨버그, 엑시스텐즈, 가상 세계

<매트릭스>에 표현된 메타 이미지 연구

심은진 청주대학교 학술연구소 2009 淸大學術論集 Vol.13 No.-

디지털 이미지의 서사성 연구

심은진 청주대학교 학술연구소 2008 淸大學術論集 Vol.12 No.-

Comme il est ? anoptique ?, l?ordre visuel num?rique nous oblige ? penser autrement le concept d?espace. A travers des images totalement nouvelles qui ouvrent un champ in?dit aux techniques d?effets visuels classiques, la trilogie de <The Matrix>?<The Matrix>, <Matrix Reloaded> et <Matrix Revolutions>? ne propose pas seulement un nouveau concept d?espace, mais permet aussi aux spectateurs de percevoir ce nouvel espace sur l??cran, comme personnages-spectateurs de l?image virtuelle dans ces films. Le changement de nature de l?image s??tend aussi ? la perception et ? la repr?sentation du temps. Le nouveau temps diff?re fondamentalement de l?ancien. Les films que nous avons analys? ici, montrent ce bouleversement du temps dans la perception du spectateur de cette nouvelle image. Les personnages dans <Abre los ojos> et <eXistenZ>, demeurent dans un monde virtuel. Ce que nous voyons dans ces deux films, ce sont les images mentales de leur ? fausse m?moire ? faite de souvenirs qui ne se trouvent que dans leur cerveau, sans aucune r?f?rence ? des ?v?nements r?els. Ces images nous invitent ? un temps nouveau.

영화의 탄생 : 뤼미에르와 인상주의 회화

심은진 청주대학교 학술연구소 2015 淸大學術論集 Vol.25 No.-

We have looked into how films create image through light and show motion and time flow. We call movies a films when they imply they are based on photography. Films and Movies contain introspection of impressionists. They both try to show captured reality and ephemerality by reproducing light and atmosphere. Showing the change of light and atmosphere is completely accomplished through vue of cinematography which Claude Monet tried through Series. Lumiere film emphasizes edge of frame by leading eye movement opposite to perspective like Edward Manet's works. Also, Lumiere's film utilize outer space of frame, like 'cutting effect' of Edgar De Gas. Lumiere's frame composition and position shows that they viewed motion pictures in drawing perspective. But Lumiere wasn't directly influenced by impressionists. He well knew about visual desire and interest of people like impressionists. This is also Lumiere's personal visual interest on Franerie's view. Films still show trace of drawings but fulfill much further desire of people.

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.

영화와 정신분석

심은진,김시무 한국영화학회 2007 한국영화학회 학술발표대회 논문집 Vol.- No.-

알프레드 히치콕 영화에서의 메타 이미지*

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

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.