• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.379-384
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• 2022

The year 2021 is a monumental year for the history of Korean cinema that inferiority of the sci-fi genre, by the appearance of two sci-fi blockbuster films- produced by Netflix and produced by TVing-at the same time. Coincidentally, both of movies are sci-fi films which appear post-human such as robot and clone. As can be seen in 『Frankenstein』 story, the progenitor of science fictions, the mankind have imagined beings similar to humen or post-human who are another human being for a long time. deals with the unusual subject matter of a space scavenger and a space janitor, and the main character is a robot that very familiar with human. is the story of a man who lives for a limited life protects and accompanies a clone named Seobok who was created as a test subject. This film deals with the philosophical themes like death and eternal life through the existential concerns of two characters. use Korean Shinpa -Korean specific senimental code-sentiment on narrative, and has the character of a road movie set in Korea's geographical space.

• Venture DIGEST
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• s.137
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• pp.38-39
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• 2009

우루과이는 지금 새로운 시대의 문을 열고 있다. 11월 29일 실시된 우루과이 대통령 선거 결선투표에서 집권 중도좌파연합 확대전선(FA) 소속 호세무히카(74) 후보가 승리한 것. 무히카 후보의 승리가 확정될 경우 FA는 지난 2004년 대선에서 타바레 바스케스 현 대통령 승리로 우루과이 사상 첫 중도좌파 정권을 탄생시킨 데 이어 연속 집권에 성공하게 된다. 아직은 중남미의 먼 나라로만 느껴지는 우루과이. 그러나 한국과 닮은 점이 많은 우루과이는 성장을 위한 발걸음을 차근히 내딛고 있다.

• The Science & Technology
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• no.3 s.442
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• pp.105-107
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• 2006

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.665-681
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• 2022

This article compared and analyzed the SF films Snowpiercer and Space Sweepers, which embody the imagination of disaster for the future dystopian society. In common, the two films represent the future society as a society with a serious climate crisis and an extremely widening gap between the rich and the poor. Both films use similar narrative strategies: representing a isolated, twisted-willed scientist figure, building a main stage as catastrophic hierarchical capitalist society, and focusing on the conflicts between a dominant group possessing the science-capital-power and a resistant but ordinary subjects. However, there is the different framing on the future society in terms of representing nature, science technology, and human-nonhuman agency. This distinction is shaped by the narrative function of the objects represented by two films.

• The Bulletin of The Korean Astronomical Society
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• v.23
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• pp.34-34
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• 1998

• 건강소식
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• v.35 no.8
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• pp.14-15
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• 2011

4년 전 이맘때도 그랬다. 월드컵과 아시안컵에서 연이어 고배를 마신 뒤, 한국은 강팀의 이미지를 잃어버렸다. 대표팀 감독직은 말 그대로 '독이 든 성배'였다. 허정무 감독이 대표팀 지휘봉을 잡은 것은 그때였다. 지도자 인생을 건 도전이었다.

• The Bulletin of The Korean Astronomical Society
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• v.33 no.2
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• pp.26.2-26.2
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• 2008

• 물만먹고자라요
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• no.21
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• pp.16-19
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• 2008

지구촌 여기저기에서 자원전쟁이 시작되고 있다. 특히, 석유 못지않게 중요한 것이 식량이다. 식량생산을 위한 '종자'는 하나의 귀중한 자원으로 총성 없는 전쟁의 불씨가 되고 있다. 총성 없는 전쟁에서 승리하는 길은 우량 품종을 육성하는 길이다. 농촌진흥청에서 육성한 주요 콩나물 신품종에 대해 시리즈로 집중탐구해 본다. 이번 호에서는 소명나물콩과 소원콩에 대해 살펴본다.

• Journal of Popular Narrative
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• v.25 no.1
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• pp.315-347
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• 2019

(1986) and (1987) represent the society of 1980s in which the professional baseball game was initiated to cover the irrational military culture. The love and marriage of sports players were the headlines of the media, and the yearly salary of the players was the hottest issue of conversation. The military culture is represented in the scenes where the coaches train the failures and inapt players in extreme drills. The films pinpoint the absurdity of military culture and win-at-all-costs mentality. The collapse of the dictatorial leadership at the end of the films is a metaphor for the collapse of the fifth Republic of Korea. The episodes where the players talk about contract money, and the trade of players and sports business were a new phenomenon of the 1980's. The fact that Oh Hyesung of chooses love instead of victory deals a big blow to the secular ambition for money, victory and dictatorial leadership. His option provides catharsis for an audience oppressed under military leadership and success driven ideology. On the other hand, Oh Hyesung of dies right at the moment of winning the world champion. He achieves neither love nor success. While Oh Hyesung of is a symbol of pure love and gives spiritual comfort to the audience, Oh Hyesung of gives a sense of hopelessness to the audience. Both of the two sports films reflect the representation of the 1980's but received opposing reviews from audiences.

• The Bulletin of The Korean Astronomical Society
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• v.33 no.1
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• pp.49.1-49.1
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• 2008