지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
The forms of space consist of the elements of visual design in the composition of shooting and can deliver the purpose of a certain shot or intended messages with ease. The space in the film can categorize its formal and structural characteristics, and the characteristics can be utilized in narrative strategies. Like this, there are some spaces in which the formal and structural characteristics of space attain superiority over the semantic contents of spatial functions, and one of the representative spaces of it is the corridor. In many films, the corridor deepens the spatial dimension through its morphologic or structural characteristics. It also functions as perceptual concept having sufficient semantic possibilities and works as the visual motif of a concept. In the film, spaces or forms are not just arranged meaninglessly but have correlations with various elements of the film. The space perception in the film is not simply based on symbolization. Therefore, it is impossible to define the relationship between spatial organization and narrative regardless of the functional relations of elements consisting of the film.
Thereupon, this paper examines the forms of corridor space and its compositional aspects in the film, and based on that, it discusses the relations between spatial concepts and perception with the relations between forms, utility (function), and meaning. Thereby, it proves that the corridor space in the film has made special visual achievements and also implies various strata of perception as well. Thus, the perceptual characteristics of forms which the corridor has itself as space are used as meaningful visual elements in a frame and are extended to the conceptual mechanism ruling the narrative. The theoretical and analytic research conducted for this article is focused on what is conceptual and perceptual in corridor space, and based on the integrated understanding of corridor space, this paper suggests it as a more creative and specific case. Like this, once the spatial concepts to enhance dramatic immersion are put in order, it is possible to use the spatial design of the film for the interaction with audience and also to extend the range of image expressions as well. Therefore, it is expected that this kind of research continues so as to contribute to the diversity of image expressions.
Thereupon, this paper examines the forms of corridor space and its compositional aspects in the film, and based on that, it discusses the relations between spatial concepts and perception with the relations between forms, utility (function), and meaning. Thereby, it proves that the corridor space in the film has made special visual achievements and also implies various strata of perception as well. Thus, the perceptual characteristics of forms which the corridor has itself as space are used as meaningful visual elements in a frame and are extended to the conceptual mechanism ruling the narrative. The theoretical and analytic research conducted for this article is focused on what is conceptual and perceptual in corridor space, and based on the integrated understanding of corridor space, this paper suggests it as a more creative and specific case. Like this, once the spatial concepts to enhance dramatic immersion are put in order, it is possible to use the spatial design of the film for the interaction with audience and also to extend the range of image expressions as well. Therefore, it is expected that this kind of research continues so as to contribute to the diversity of image expressions.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
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Abstract
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UCI(KEPA) : I410-ECN-0101-2016-688-001753167