(Regular Paper) 24 1, 2019 1 (JBE Vol. 24, No. 1, January 2019) https://doi.org/10.5909/jbe.2019.24.1.153 ISSN 2287-9137 (Online) ISSN 1226-7953 (Print) : a), b), b), b) Quantification of The Conflict in Film Narrative: Focusing on Comparison of Characters Face Area Soohwan Kang a), Seung-Bo Park b), Yeong Hun Kim b), and Eun Soon You b)..,..,.,. Abstract This paper analyzes the film in a quantitative method to understand the principle to assign film s narrative as an art form. To do this, we tried to quantify conflict, which is a key factor of narrative, according to measuring the information represented in images. And thus, we measured the face areas of Protagonist and Antagonist, and then analyzed the relationship between area and conflict. The reason why the face area is used as the measurement target is because it is an index showing the way in which the director represents the conflict in the film. The quantification of conflict in films can be applied to indexing the narrative structure or specific conflict sections based on objective figures. In addition, it is possible to visualize narrative through conflict graphs, and it is meaningful that the computational criticism can apply into narrative study by quantification of conflict. Keyword : quantitative method, computational criticism, narrative, conflict, face area a) (Inha University, Dept. of Korean Studies) b) (Inha University, Dept. of Software Convergence Engineering) Corresponding Author : (Eun Soon You) E-mail: tesniere@naver.com Tel: +82-32-860-8831 ORCID: http://orcid.org/0000-0001-8827-1232 This work was supported by the Ministry of Education of the Republic of Korea and the National Research Foundation of Korea (No. NRF-2017R1D1A1B03036046). Manuscript received December 13, 2018; Revised January 21, 2019; Accepted January 22, 2019. Copyright 2016 Korean Institute of Broadcast and Media Engineers. All rights reserved. This is an Open-Access article distributed under the terms of the Creative Commons BY-NC-ND (http://creativecommons.org/licenses/by-nc-nd/3.0) which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited and not altered.
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(JBE Vol. 24, No. 1, January 2019)..,.... 3..... [13]....., [14]....,.,. 1.,, Table 1. Film list, characters, genre, number of scenes 1 2 3 4 5 6 7 Film Title Characters Genre The King's Speech (2010) Kramer vs. Kramer (1979) Wall Street (1987) Good Will Hunting (1997) Rain Man (1988) Romeo And Juliet (1968) Cape Fear (1991) 8 Misery (1990) 9 10 Insomnia (2002) The Dark Knight (2008) King George VI, Lionel Logue Ted Kramer, Joanna Kramer Bud Fox, Gordon Gekko Num. of Scene Drama 43 Drama 9 Drama 23 Will, Sean Drama 13 Raymond Babbitt, Charlie Babbitt Romeo, Juliet Max Cady, Sam Bowden Paul Sheldon, Annie Wilkes Will Dormer, Walter Finch Batman, Joker Drama 44 Romance Drama 13 Thriller 15 Thriller 31 Crime, Thriller Crime, Action III. 1. 1 10.., (Glauber Rocha) 10 8
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(JBE Vol. 24, No. 1, January 2019) 3. < > Fig. 3. Average area graph by scene of film The King s Speech,..., < >.,.. 5. < > Fig. 5. Average area graph by scene of film Cape Fear 4. < > Fig. 4. Average area graph by scene of film The Dark Knight., < >. 4... 5 < >. 2.2. 6 <>...
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(JBE Vol. 24, No. 1, January 2019),.,... <>....,.,..,,. 2.4, 10.., < >( 5), < >( 8), < >( 10), <>( 11) < >( 3), <>( 6), < >( 9). < > 97.6%, < > 98.5%, < > 98.5%.. < >, < >. < >.,..,,., < >. < >. 11. < > Fig. 11. Average area graph by film Rain Man 10. < > Fig. 10. Average area graph by film Good Will Hunting,..,
< > 54.8%, < > 68%, <> 72%.. < >, 6. < > 1. <>.. < > < >, /... < >... IV. -. /,,,.. 10,,...,.,.,.,.,.,. (computational criticism). (References) [1] S.-H. Kang, Preliminary Studies of Quantitative Methods on Cinema Studies, Humanities Contents, Vol.51, pp.187-189, 2018. [2] H. Porter Abbot, The Cambridge indroduction to narrative, (Trans. C.-J. Woo et al.) Munhakgwajiseongsa Press, Seoul, p.113, 2010. [3] V. Lingabavan, and A. Salway, What are they talking about? Information extraction from film dialogue, Dept. of Computing Technical Report CS-06-07, University of Surrey, 2006. [4] S.-B. Park, E.-S. You, and J. Jung, Extracting Beginning Boundaries for Efficient Management of Movie Storytelling Contents, Journal of Intelligence and Information Systems, Vol.17, No.4, pp.279-292, 2011. [5] S.-S. Nam, Actor speech regression for character design and narrative structure in contemporary Korean cinema: analysis of quantified characteristics of disfluencies in Gangho Song s speech in Thirst (2009), Discourse and Cognition, Vol.18, No.2, pp.51-71, 2011. [6] E.-S. You, Analysis of the Correlation between Narrative and Emotions Displayed by Movie Characters through a Quantitative
162 방송공학회논문지 제24권 제1호, 2019년 1월 (JBE Vol. 24, No. 1, January 2019) Analysis of Dialogues in a Movie, Journal of The Korea Contents Association, Vol.13, No.6, pp.95-107, 2013. [7] B. Adams, C. Dorai, and S. Venkatesh, Role of shot length in characterizing tempo and dramatic story sections in motion pictures, Proceeding of The First IEEE Pacific-Rim Conference on Multimedia: 2000 International Symposium on Multimedia Information Processing, pp.54-57, 2000. [8] C. Lino, M. Chollet, M. Christie, and R. Ronfard, Computational Model of Film Editing for Interactive Storytelling, Proceeding of International Conference on Interactive Digital Storytelling, pp.305-308, 2011. [9] N. Redfern, Shot length distributions in the short films of Laurel and Hardy, 1927 to 1933, Cine forum, Vol.14, pp.37-41, 2012. [10] Y.-M. Lim, The Climax Expression Analysis Based on the Shot-list Data of Movies, Journal of Broadcast Eengineering, Vol.21, No.6, pp.965-976, 2016. [11] S. Hayward, Cinema studies: The key concepts, (Tran. Y.-K Lee, and G.-Y. Choi), Hannarae Press, Seoul, p.73, 2012. [12] K. Dancyger, The technique of film and video editing, (Tran. M.-H. Oh), Communicationbooks Press, Seoul, p.514, 2011. [13] J. Amount, Du visage au cinéma, (Tran. H.-Y. Kim), Maeumsanchaek Press, Seoul, p.145, 1992. [14] B. Balázs, Theory of the Film, (Tran. H.-S. Lee), Dongmoonsun Press, Seoul, p.72, p.88, 2003. [15] F. Moretti, Planet Hollywood, Distant Reading, Verso, London & New York, p.93, 2013. [16] Y.-M. Lim, and J.-E. Eom, Scene Arrangement Analyzed through Data Visualization of Climax Patterns of Films, Journal of Digital Contents Society, Vol.18, No.8, pp.1621-1626, 2017. [17] S. Chen et al., Supporting Story Synthesis: Bridging the Gap between Visual Analytics and Storytelling, Proceeding of IEEE Transactions on Visualization and Computer Graphics, pp.1-18, 2018. 저자소개 강수환 - 년 8월 : 인하대학교 문화콘텐츠학과(문학사) 년 2월 : 인하대학교 한국학과(문학석사) 년 6월 : 인하대학교 한국학과 박사 수료 년 3월 ~ 현재 : 인하대학교 문화콘텐츠학과 강사 : https://orcid.org/0000-0003-4786-6197 주관심분야 : 영화연구, 문화연구, 디지털인문학, 인공지능 2012 2015 2018 2017 ORCID 박승보 - 년 2월 : 인하대학교 전기공학과(공학사) 년 2월 : 인하대학교 전기공학과(공학석사) 년 3월 : 인하대학교 정보공학과(공학박사) 년 12월 2017년 2월 : 가천대학교 리버럴아츠칼리지 년 3월 ~ 현재 : 인하대학교 소프트웨어융합공학과 : https://orcid.org/0000-0002-0000-4453 주관심분야 : 스토리 공학, 인공지능, 멀티미디어, 정보 검색, 이미지 처리 1995 1997 2011 2015 2017 ORCID 김영훈 년 현재 인하대학교 소프트웨어융합학과 재학 주관심분야 인공지능 금융 데이터 분석 정보 검색 - 2017 ~ : - ORCID : https://orcid.org/0000-0001-6129-6210 :,,
- 1995 2 : () - 2000 10 : (Franche-Comté) - 2007 7 : (Franche-Comté) - 2017 ~ : - ORCID : https://orcid.org/0000-0001-8827-1232 - :,,,