• Cartoon and Animation Studies
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• s.46
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• pp.63-84
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• 2017

Overwhelming images of vividly colored aircraft flying across the blue sky and steam gushing from massive machines are reminiscent of Japanese animation films, especially of works by master director Hayao Miyazaki. By presenting together steam engines, which are mechanical devices of the Industrial Age in the past, and aircraft of the future age, the director constructs ambiguous space and time. These special time and space constitute nostalgia for past time, with devices called steam engines as a medium, and a longing for science and the future as represented by aircraft. In addition, the anticipation and disappointment, ideals and regrets of humans who see these two from the perspective of the present are projected on the works. This shares the characteristic of the steam punk genre, which seeks to return to the past rather than to face current problems. A subgenre of science fiction (henceforth "sci-fi"), steam punk reflects fundamental skepticism of science and technology and mechanized civilization, which have developed beyond human control. In addition, as works that clearly display such characteristics, director Miyazaki's and < $Nausica{\ddot{a}}$ of the Valley of Wind> can be examined. With spectacles of steam engines and aircraft, these two works enticingly visualize narratives about nature and humans and about the environment and destruction. Such attractiveness on the part of the master director's works has led to support from fans worldwide. However, often in the backgrounds of director Miyazaki's works, which have depicted ideal worlds of nature, environment, and community as highly concentrated fantasies, lie presuppositions of war and the end of the world. As works that are especially prominent in such characteristics, there are and . These two works betray the expectations of the audience by establishing the actual wartime as the temporal background and proceeding toward narratives of reality. Trapped in the ontological identity of the director himself, the war depicted by him projects a subjective and romantic attitude. Such a problem stems also from the ambiguity of the hybrid space and time, which is basic to the steam punk genre. This is because the basic characteristic of steam punk is to transplant past time, which humans were able to control, in the future from a perspective of optimism and longing via steam engines rather than to face current problems. In this respect, steam punk animation films in themselves can be seen as having significance and limitations at the same time.

• Journal of Intelligence and Information Systems
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• v.22 no.2
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• pp.97-113
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• 2016

Due to the growth of internet data and the rapid development of internet technology, "big data" analysis is actively conducted to analyze enormous data for various purposes. Especially in recent years, a number of studies have been performed on the applications of text mining techniques in order to overcome the limitations of existing structured data analysis. Various studies on sentiment analysis, the part of text mining techniques, are actively studied to score opinions based on the distribution of polarity of words in documents. Usually, the sentiment analysis uses sentiment dictionary contains positivity and negativity of vocabularies. As a part of such studies, this study tries to construct sentiment dictionary which is customized to specific data domain. Using a common sentiment dictionary for sentiment analysis without considering data domain characteristic cannot reflect contextual expression only used in the specific data domain. So, we can expect using a modified sentiment dictionary customized to data domain can lead the improvement of sentiment analysis efficiency. Therefore, this study aims to suggest a way to construct customized dictionary to reflect characteristics of data domain. Especially, in this study, movie review data are divided by genre and construct genre-customized dictionaries. The performance of customized dictionary in sentiment analysis is compared with a common sentiment dictionary. In this study, IMDb data are chosen as the subject of analysis, and movie reviews are categorized by genre. Six genres in IMDb, 'action', 'animation', 'comedy', 'drama', 'horror', and 'sci-fi' are selected. Five highest ranking movies and five lowest ranking movies per genre are selected as training data set and two years' movie data from 2012 September 2012 to June 2014 are collected as test data set. Using SO-PMI (Semantic Orientation from Point-wise Mutual Information) technique, we build customized sentiment dictionary per genre and compare prediction accuracy on review rating. As a result of the analysis, the prediction using customized dictionaries improves prediction accuracy. The performance improvement is 2.82% in overall and is statistical significant. Especially, the customized dictionary on 'sci-fi' leads the highest accuracy improvement among six genres. Even though this study shows the usefulness of customized dictionaries in sentiment analysis, further studies are required to generalize the results. In this study, we only consider adjectives as additional terms in customized sentiment dictionary. Other part of text such as verb and adverb can be considered to improve sentiment analysis performance. Also, we need to apply customized sentiment dictionary to other domain such as product reviews.

• Korean Journal of Heritage: History & Science
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• v.52 no.3
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• pp.38-55
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• 2019

The purpose of this study is to clarify the historical flow of baekdong alloy's usage according to the alloying materials mentioned in document records. For this purpose, we first overviewed the use of copper as a base material for white copper alloys and other types of copper alloys. Baekdong is an alloy of copper and other metals and is currently defined as an alloy of copper and nickel. However, depending on the research subjects and time of the scholars, baekdong may be defined as a metal with over a certain percentage of tin added to copper, or as an alloy of tin, zinc, and lead with copper. There is disagreement regarding the interpretation of this term. Baekdong, which started to appear in the literature of the Three Kingdoms Period, has been steadily seen through the Goryeo and Chosun Dynasties to the modern period. It has been used in various ways, according to each age and culture, from the symbol of the office to trading goods, daily life goods, and money. In the literature, baekdong's alloying material is not only copper and nickel, which are currently defined as alloys, but it is the same in that copper is used as the base metal of the alloy, although it varies slightly from generation to generation. In addition to copper, tin, zeolite, and emerald, zinc and lead also appeared. It was found that baekdong, which means alloy, and baekdong, which means white metal, were mixed. Nickel, which is the alloy material of baekdong as it is currently defined, is a metal with a relatively high discovery time and is widely used as a material for modern industrial fields. Nickel was introduced into Korea at the end of the Joseon Dynasty, but its use is not known in detail. In this study, we examined the acceptance and use of nickel-based baekdong in articles of modern newspapers and in statistical data. Based on the experience of craftsmen, we estimated the period when nickel-based alloys were used in crafts. Material is a direct factor in the development and deterioration of technology, and the development of technology is the basis for the changing of civilizations and cultures. In this context, this study was to investigate baekdong with the material of alloys as a starting point.

• Journal of Ginseng Culture
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• v.3
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• pp.90-118
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• 2021

Gaeseong fostered the conditions necessary for modern capitalism, as huge capital was accumulated through the cultivation and trade of ginseng, which were activities that flourished in the 18th century. During the Japanese colonial era, ginseng merchants were not simply limited to acquiring landowner capital from ginseng trade but actively converted such resource to productive and financial capital, thereby becoming modern entrepreneurs. Ginseng merchants led the joint management and investment of Gaeseong Electric Co., Ltd., Daehan Cheonil Bank, Gaeseong Brewing Co., Ltd., and Songgo Textile Company, founded in the early 20th century. They pursued corporate profits and, as leading individuals of society, spearheaded regional development by supporting educational and cultural projects in Gaeseong. These projects included the establishment of the Gaeseong Commercial School, the publication of Goryeo Times, and the operation of the Gaeseong Jwa Theater. Although liberal economics prioritized shareholder interest, the 21st century witnessed an emphasis on social responsibility among stakeholders asthe major purpose of enterprises. A trend that emerged was ESG (environment, social, governance) management, in which non-financial factors are valued more highly than financial performance. A successful business, which was denoted only by high profits in the past, is now defined by whether a company fulfills its social responsibility. In the early 20th century, the corporate activities of ginseng merchants in Gaeseong reflected entrepreneurship and stakeholder-centered ESG management, which later emerged as essential elements of modern business management. The modern management philosophy ahead of its times stemmed from the regionality of Gaeseong. The political discrimination against Gaeseong residents in the Joseon Dynasty precluded them from becoming government officers, and under a strict social hierarchy, yangban ("noblemen"), the intellectuals of the Joseon Dynasty, were forced to serve as merchants. Son Bong-sang and Kong Seong-hak, aside from being representative ginseng merchants, were both Confucian scholars and writers. The second and third generations of ginseng merchant families who had received higher education abroad returned to Gaeseong to carry on with their family businesses, then established modern companies with capital accrued from the ginseng industry. An analysis of the commercial activities of ginseng merchants in the early 20th century confirmed that these individuals were pioneering entrepreneurs who adopted the ESG management philosophy. In ginseng merchants, one sees a dimension of capitalism with a human face, as with ginseng thatsaves human life.

• (The) Research of the performance art and culture
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• no.43
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• pp.293-322
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• 2021

The present study examined the scientific awareness appearing in Korean tokusatsu series by focusing on Vectorman: Warriors of the Earth. As a work representing Korean tokusatsu series, Vectorman: Warriors of the Earth achieved the greatest success among tokusatsu series. This work was released thanks to the continued popularity of Japanese tokusatsu since the mid-1980s and the trend of robot animations. Due to the chronic problems regarding Korean children's programs-the oversupply of imported programs and repeated reruns-the need for domestically produced children's programs has continued to come to the fore. However, as the popularity of Korean animation waned beginning in the mid-1990s, inevitably the burden fr producing animation increased. As a result, Vectorman: Warriors of the Earth was produced as a tokusatsu rather than an animation, and because this was a time when an environment for using special effects technology was being fostered in broadcasting stations, computer visual effects were actively used for the series. The response to the new domestically produced tokusatsu series Vectorman: Warriors of the Earth was explosive. The Vectorman series explained the abilities of cosmic beings by using specific scientific terms such as DNA synthesis, brain cell transformation, and special psychological control device instead of ambiguous words like the scientific technology of space. Although the series is unable to describe in detail about the process and cause, the way it defines technology using concrete terms rather than science fiction shows how scientific imagination is manifesting in specific forms in Korean society. Furthermore, the equal relationship between Vectorman and the aliens shows how the science of space, explained with the scientific terms of earth, is an expression of confidence regarding the advancement of Korean scientific technology which represents earth. However, the female characters fail to gain entry into the domain of science and are portrayed as unscientific beings, revealing limitations in terms of scientific awareness.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.