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
A digital actor shown in Beowulf (Robert Zemeckis, 2007) can be viewed as the cinematic representation of a present human being becoming a cyborg. The figure of a live actor, acting with the technique of Performance EOG Capture, in a tight suit with white electronic markers on his/her body, face, and even eyelids much resembles that of a cyborg. A digital actor as the cinematic representation of a live actor reflects the phase of the present people transforming themselves into cyborgs in the digital age. As a digital actor loses its indexicality, it goes beyond the borderline of live-action films and proceeds to the realm of computer animation; so classical realist film theories cannot explain the reality a digital actor creates. Instead, theories of digital realism suggest the various aspects of new realism under the new technological condition such as the accordance between the digital actor's performance and live-action environment (or, the live actor's performance and digital facilities), an audience's expectation about a digital actor derived from his/her experience of a live actor, and sophisticated and rich visuality to the degree that the audience cannot recognize the perceptual difference between the live-action and the digital performance.
The performance of a digital actor is losing its indexicality, and at the same time it is seeking perceptual and sensuous indexicality. As a digital actor intakes digital information, it projects a present human being as a cybernetic organism up-loading itself to the digital environment. A cyborg leaves the indexically realist information-seeking behavior, such as directly asking someone, or visiting some places and collecting information. It believes and intakes the perceptual and sensuous indices, such as information obtained from the Internet search engines. A digital actor does/can not present the live actor's indexical performance but downloads perceptual indices through the technique of digital scanning and/or performance (EOG) capture. A cyborg's routine starts with booting the computer, stops with turning it off. A digital actor's life begins with computing, ends with deleting it. As a digital actor is made up of the subject of the live actor as the user of electronic markers and that of the digital actor in the diegesis the computer generated, a cyborg is comprised of the subject as the computer user and that as the avatar in cyberspace. In this sense, a digital actor is the cultural representation of the cyborg people in this digital age.
The performance of a digital actor is losing its indexicality, and at the same time it is seeking perceptual and sensuous indexicality. As a digital actor intakes digital information, it projects a present human being as a cybernetic organism up-loading itself to the digital environment. A cyborg leaves the indexically realist information-seeking behavior, such as directly asking someone, or visiting some places and collecting information. It believes and intakes the perceptual and sensuous indices, such as information obtained from the Internet search engines. A digital actor does/can not present the live actor's indexical performance but downloads perceptual indices through the technique of digital scanning and/or performance (EOG) capture. A cyborg's routine starts with booting the computer, stops with turning it off. A digital actor's life begins with computing, ends with deleting it. As a digital actor is made up of the subject of the live actor as the user of electronic markers and that of the digital actor in the diegesis the computer generated, a cyborg is comprised of the subject as the computer user and that as the avatar in cyberspace. In this sense, a digital actor is the cultural representation of the cyborg people in this digital age.
목차
1. 연구의 의의와 목적
2. 디지털 액터 제작 과정
3. 디지털 액터의 리얼리즘
4. 디지털 인간의 문화적 재현으로서의 디지털 액터: 사이보그
5. 결론
참고문헌
Abstract
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