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 color, socially and culturally, is signified through its expressive effect. Especially, the meaning could be basically grasped by the concept like a symbol, metaphor, and allegory. It also is understood naturally, psychologically. By the way, in order to hold the cultural meaning of film color the study on its technology will be preceded. Therefore, this study was intended to examine the industrial/aesthetic/ideological background from the advent of film color to the mainstream.
This study concludes that from the beginning film color was originally ideological. The process of film color was intended to have a tendency of the perfect realism as the element subordinate to narrative. In that way, color technology in moving pictures was in competition of hegemony to survive industrially, and it was reproduced to serve the dominant ideology well. As a result, the finished aesthetic of film color was inevitably ideological.
Film history was a struggle to hold the cultural/political hegemony between mainstream to serve reproducing the dominant ideology and non-mainstream to stand against it. Film color as an apparatus subordinate to narrative which skillfully sutures a gap of conflict became a natural element through the aesthetic process. But it could work as an autonomous element having an independent value as other cinematic apparatus. There was run an industrial/aesthetic/political/ideological dispute at the process of film color whether it is considered as serving to be subordinate to narrative reproducing the dominant ideology, or as an autonomous element to function equally with it. Between in the 1930s when Technicolor was technologically finished and in the late 1970s when all films used color film for the advent of color-TV, the process of film color was ideological. Also, the meaning of it was ideologically determined by a cultural dimension.
This study concludes that from the beginning film color was originally ideological. The process of film color was intended to have a tendency of the perfect realism as the element subordinate to narrative. In that way, color technology in moving pictures was in competition of hegemony to survive industrially, and it was reproduced to serve the dominant ideology well. As a result, the finished aesthetic of film color was inevitably ideological.
Film history was a struggle to hold the cultural/political hegemony between mainstream to serve reproducing the dominant ideology and non-mainstream to stand against it. Film color as an apparatus subordinate to narrative which skillfully sutures a gap of conflict became a natural element through the aesthetic process. But it could work as an autonomous element having an independent value as other cinematic apparatus. There was run an industrial/aesthetic/political/ideological dispute at the process of film color whether it is considered as serving to be subordinate to narrative reproducing the dominant ideology, or as an autonomous element to function equally with it. Between in the 1930s when Technicolor was technologically finished and in the late 1970s when all films used color film for the advent of color-TV, the process of film color was ideological. Also, the meaning of it was ideologically determined by a cultural dimension.
목차
1. 서언
2. 초기의 영화색채 테크놀로지
3. 헤게모니로서의 테크니컬러
4. 결언, 영화색채의 자율적 기능 혹은 독자적 가치
참고문헌
ABSTRACT
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
We Are Color
International Invitation Exhibition of Color Works
2019 .12
-
color
International Invitation Exhibition of Color Works
2018 .11
-
color
International Invitation Exhibition of Color Works
2014 .11
-
All The Way That Color
International Invitation Exhibition of Color Works
2018 .11
-
All the colors
International Invitation Exhibition of Color Works
2018 .11
-
Color of Color
International Invitation Exhibition of Color Works
2019 .12
-
The color of everyone
International Invitation Exhibition of Color Works
2017 .11
-
Color+M+I+R+R+O+R
International Invitation Exhibition of Color Works
2014 .11
-
All the way that colors
International Invitation Exhibition of Color Works
2018 .11
-
We Are Color
International Invitation Exhibition of Color Works
2019 .12
-
The Color
International Invitation Exhibition of Color Works
2014 .11
-
"A way of color"
International Invitation Exhibition of Color Works
2018 .11
-
영화에서 표현된 색채의 특성과 내러티브의 연관성에 관한 분석 : 데이비드 린치 감독의 영화를 중심으로
한국색채학회논문집
2017 .11
-
컬러네가티브 필름의 디지털 입력에 대한 연구
AURA
2004 .01
-
Quantitative analysis of subjective color appearance based on color and filter transmittance rates
AIC 2017 Jeju
2017 .10
-
色再現에 있어서 Color Film과 Color Television의 比較研究
영화연구
1989 .10
-
캐릭터 관계 기반의 비주얼스토리텔링 공간 분석 : 영화 아바타를 중심으로
영상문화콘텐츠연구
2011 .04
-
Colors of Korea
International Invitation Exhibition of Color Works
2015 .11
-
Colors of Korea
International Invitation Exhibition of Color Works
2015 .11
-
색채교육의 기초확립을 위한 시스템배색체계의 설계 및 색지 제작
한국의류산업학회지
2009 .01
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0