1 김현수, "세계의, 한국의 VR 영화 어떻게 만들어지고 있나"
2 문재철, "디지털 특수효과로서 카메라 무브먼트(movement)에대한 고찰" 한국영화학회 (61) : 117-137, 2014
3 김지훈, "드론 카메라와 고프로(GoPro) -탈체현적 디지털 카메라와 다큐멘터리의 확장-" 현대영화연구소 13 (13): 129-170, 2017
4 "https://en.oxforddictionaries.com/definition/hybrid"
5 T. Gunning, "What's the Point of an Index? or Faking Photographs" 1 (1): 39-49, 2004
6 T. Gunning, "What's the Point of an Index? or Faking Photographs" 1 (1): 39-49, 2004
7 W. T. Mitchell, "The Work of Art in the Age of Biocybernetic Reproduction" 10 (10): 483-485, 2003
8 D. N. Rodowick, "The Virtual Life of Film" Harvard University Press 124-131, 2007
9 V. Sobchack, "The Line and the Animorph or ‘Travel is More Than Just A to B’" 3 (3): 251-265, 2008
10 L. Manovich, "The Language of New Media" MIT Press 136-, 2001
1 김현수, "세계의, 한국의 VR 영화 어떻게 만들어지고 있나"
2 문재철, "디지털 특수효과로서 카메라 무브먼트(movement)에대한 고찰" 한국영화학회 (61) : 117-137, 2014
3 김지훈, "드론 카메라와 고프로(GoPro) -탈체현적 디지털 카메라와 다큐멘터리의 확장-" 현대영화연구소 13 (13): 129-170, 2017
4 "https://en.oxforddictionaries.com/definition/hybrid"
5 T. Gunning, "What's the Point of an Index? or Faking Photographs" 1 (1): 39-49, 2004
6 T. Gunning, "What's the Point of an Index? or Faking Photographs" 1 (1): 39-49, 2004
7 W. T. Mitchell, "The Work of Art in the Age of Biocybernetic Reproduction" 10 (10): 483-485, 2003
8 D. N. Rodowick, "The Virtual Life of Film" Harvard University Press 124-131, 2007
9 V. Sobchack, "The Line and the Animorph or ‘Travel is More Than Just A to B’" 3 (3): 251-265, 2008
10 L. Manovich, "The Language of New Media" MIT Press 136-, 2001
11 F. Cassetti, "Sutured Reality: Film, from Photographic to Digital" 138 : 106-, 2011
12 L. Manovich, "Software Takes Command" INT edition 20-24, 2013
13 A. Wood, "Pixel Visions: Digital Intermediates and Micromanipulations of the Image" 32 (32): 72-94, 2007
14 A. Wood, "Pixel Visions: Digital Intermediates and Micromanipulations of the Image" 72-94, 2007
15 A. Wood, "Pixel Visions: Digital Intermediates and Micromanipulations of the Image" 32 (32): 72-94, 2007
16 T. Gunning, "Moving Away From the Index:Cinema and the Impression of Reality" 18 (18): 33-, 2007
17 T. Gunning, "Moving Away From the Index:Cinema and the Impression of Reality" 18 (18): 33-, 2007
18 D. Bordwell, "Intensified Continuity: Visual Style in Contemporary American Film" 55 (55): 16-28, 2002
19 L. Manovich, "Info-Aesthetics: Information and Form" Bloomsbury Academic 2019
20 P. Willemen, "Indexicality, Fantasy, and the Digital" 14 (14): 113-, 2013
21 P. Willemen, "Indexicality, Fantasy, and the Digital" 14 (14): 113-, 2013
22 T. Elsaesser, "Film Theory: An Introduction through the Senses" Routledge 169-, 2010
23 W. Benjamin, "Film Theory and Criticism" Oxford University Press 665-681, 1992
24 S. Eisenstein, "Film Theory &Criticism" Oxford University Press 24-, 2009
25 A. Wood, "Digital Afx: digital dressing and affective shifts in Sin City and 300" 9 (9): 283-295, 2011
26 C. S. Peirce, "Dictionary of Philosophy &Psychology, Vol. 2" Macmillan 228-, 1902
27 G. Deleuze, "Cinema 2: The Time-Image" Continuum International Publishing Group 25-33, 2005
28 G. Deleuze, "Cinema 2: The Time-Image" Continuum International Publishing Group 29-, 2005
29 G. Deleuze, "Cinema 1: The Movement-Image" The Athlone Press 56-, 1983
30 P. Rosen, "Change Mummified" University of Minnesota Press 307-314, 2001
31 W. Brown, "Beowulf: The Digital Monster Movie" 4 (4): 153-168, 2009
32 A. Wood, "Behind the Scenes: A study of Autodesk Maya" 9 (9): 317-332, 2014
33 P. Power, "Animated Expressions: Expressive Style in 3D Computer Graphic Narrative Animation" 4 (4): 107-129, 2009
34 R. Sulcas, "Andy Serkis: the War for the Planet of the Apes star on how performance capture is 'the end of typecasting"