Abstract: Hollywood has produced various blockbusters on the
subject of disasters. Entering the 2000s, disaster films began to be
produced in the East Asian region as well, and as most of them were
successful, disaster films have settled as a popular genre in the region.
East Asian disaster films utilize a plot structure similar to Hollywood
films but, at the same time, represent East Asian people-s unique value
system. East Asian people-s social behavior pattern defined as
collectivism is a characteristic that distinguishes this region from other
cultural regions. In order to examine Confucian culture in disaster
films on the premise of the difference, the author conducts this
research as follows.This study first reviews the concepts disaster and
disaster film, and understands the genre through analyzing the
narrative structure and style. In addition, it discusses collectivism, a
characteristic of the East Asian region distinguished from the West,
and investigates Confucian culture in films and examines differences
among Korean, Chinese and Japanese Confucianism. Films selected
for this study are Tidal Wave (Korea, 2009), After Shock (China,
2006), and The Sinking of Japan (Japan, 2006). Using the characters in
these films, we analyze how Confucian thought is described and
reproduced.
Abstract: After Apple's first introduction its smart phone, iPhone
in the end of 2009 in Korea, the number of Korean smarphone users
had been rapidly increasing so that the half of Korean population
became smart phone users as of February, 2012. Currently, smart
phones are positioned as a major digital media with powerful
influences in Korea. And, now, Koreans are leaning new information,
enjoying games and communicating other people every time and
everywhere. As smart phone devices' performances increased, the
number of usable services became more while adequate GUI
developments are required to implement various functions with smart
phones. The strategy to provide similar experiences on smart phones
through familiar features based on employment of existing media's
functions mostly contributed to smart phones' popularization in
connection with smart phone devices' iconic GUIs.
The spread of Smart phone increased mobile web accesses.
Therefore, the attempts to implement PC's web in the smart phone's
web are continuously made. The mobile web GUI provides familiar
experiences to users through designs adequately utilizing the smart
phone's GUIs. As the number of users familiarized to smart phones
and mobile web GUIs, opposite to reversed remediation from many
parts of PCs, PCs are starting to adapt smart phone GUIs.
This study defines this phenomenon as the reversed remediation,
and reviews the reversed remediation cases of Smart phone GUI'
characteristics of PCs. For this purpose, the established study issues
are as under:
· what is the reversed remediation?
· what are the smart phone GUI's characteristics?
· what kind of interrelationship exist s between the smart phone and
PC's web site?
It is meaningful in the forecast of the future GUI's change by
understanding of characteristics in the paradigm changes of PC and
smart phone's GUI designs. This also will be helpful to establish
strategies for digital devices' development and design.
Abstract: In films, visual effects have played the role of
expressing realities more realistically or describing imaginations as if
they are real. Such images are immediated images representing
realism, and the logic of immediation for the reality of images has
been perceived dominant in visual effects. In order for immediation to
have an identity as immediation, there should be the opposite concept
hypermediation.
In the mid 2000s, hypermediated images were settled as a code of
mass culture in Asia. Thus, among Asian films highly popular in those
days, this study selected five displaying hypermediated images – 2 Korean, 2 Japanese, and 1 Thailand movies – and examined the
semiotic meanings of such images using Roland Barthes- directional and implicated meaning analysis and Metz-s paradigmatic analysis
method, focusing on how hypermediated images work in the general
context of the films, how they are associated with spaces, and what
meanings they try to carry.