• Proceedings of the Korea Contents Association Conference
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• 2017.05a
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• pp.51-52
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• 2017

영화색채는 서사를 비롯한 영화의 다른 요소들과 동등한 기능을 하며, 표현의 독자성에 따른 텍스트적 의미를 갖는다. 일반적으로, 빨강은 시선을 집중시키는 기능을 하며, 그로부터 유발된 의미는 확산된다. 텍스트와 콘텍스트의 관계에서 집중의 기능과 확산의 의미를 제시할 수 있다. 집중과 확산의 개념은 독자적 색채, 색채와 다른 영화적 요소들의 관계, 색채들 간의 상호작용 등에 따라 구체화된다. 이를 확인하기 위해, 이 연구는 대중성을 담보한 일련의 한국영화를 선정하여, 영화색채가 어떻게 상호작용하며, 특히 빨강의 집중 기능과 확산의 의미가 무엇인지를 분석한다.

• Korean Journal of Cognitive Science
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• v.25 no.2
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• pp.73-90
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• 2014

It has been suggested that primates' trichromatic color vision is an adaption for folivory and frugivory. Ripened fruit frequently is red against a green background. Given this, the question for our research was whether the ecological relationship between red and green plays any role in figure-ground organization that is an essential step in forming our perception of objects? In this study, it was tested which color looked most strong as a figure, using a red circle on a green background and a green circle on red background. The results of Experiment 1 showed that most participants saw the red circle for the figure more than the green circle. However, this effect was significant only in females, but not in males. Accordingly, this result suggests that the visual development of figure-ground organization based on red-green color combination may differ between males and females. In Experiment 2, it was surveyed that the results of Experiment 1 was simply not by the sex difference of color preference. The gender difference of the figure-ground organization on red-green stimuli are discussed in terms of some recent hypotheses such as gatherer-hunter hypothesis.

• The Journal of the Korea Contents Association
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• v.17 no.5
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• pp.174-181
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• 2017

Colors that stimulate human emotions in everyday life are one of the important factors in animation production. The research on color has been actively carried out in relation to the importance and nature mainly for animation production. However, researches that investigated different views for specific color by geographic characteristics are rare. Therefore, information was collected through questionnaire survey and empirical analysis was conducted using SPSS statistical package to analyze preference of Korean and Chinese people for the Chinese traditional colors. The analysis results showed that both Korean and Chinese groups preferred red color among Chinese traditional colors. This preference for red was statistically significant in both groups, indicating that the intensity of preference for red was different even though Korean and Chinese equally preferred red. Furthermore, among 10 red colors, the preferred red was different between Chinese and Korean. Based on these results, it is suggested that the color should be selected considering the characteristics of the intended market for Chinese animation production and the personality of the viewers who watch the animation products.

• Proceedings of the Korea Contents Association Conference
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• 2012.05a
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• pp.235-236
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• 2012

색채의 공감각적 특성에 기초하여 대학생들의 미각에 대한 단색 연상 색채를 조사함으로써 현 시대의 대학생들이 느끼는 미각에 대한 대표적인 공감각적 색채를 찾아내기 위한 기초 연구를 진행하였다. 연상을 활용하여 미각에 대한 색채의 공감각에 대해 기초적인 접근이 가능하도록 하였으며, 연상과의 상호관계를 통해 기본 미각의 대표컬러로써 대학생들이 선택한 단맛은 빨강과 노랑, 핑크와 초컬릿 색, 짠맛은 흰색, 회색, 빨강과 검정 등이 추출되었다.

• The tire
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• s.225
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• pp.23-25
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• 2005

• The Proceedings of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.11 no.3
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• pp.63-70
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• 1997

The objective of this study was to investigate the color preference and the recognition of color names among college students. The study revealed the following: 1) The most favorite colors included blue, purple, white and green in that order; and the least favorite colors included achromatic colors, ocher and red in that order. 2) Brown was the favorite color in furniture while red was the disliked color; In colthing, white was preferred while red was disliked; Red was appropriate for accent colors, and bright colors were for product packages. 3) In regards with seasonal image, yellow, blue, brown and white were associated with spring, summer, fall and winter, respectively; Blue represented self-image most. 4) Black, grey, red and green in that order showed the higest recognitions in color names while indigo, crimson, deep carmine and havy blue showed the lowesR ; Color name recognitions showed the order of achomatic, neutial, warm and cool colors.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.18 no.2
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• pp.166-179
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• 1985

The seasonal distribution and migration of flying squid, Ommastrephes bartrami (LeSueur), in the North Pacific were studied by means of mantle length, surface temperature, and catch and effort data of the Korean drift gillnet fishery from 1980 to 1983. The water temperature for the best fishing ranged from $15^{\circ}\;to\;16^{\circ}C$ in May through July and from $13^{\circ}\;to\;18^{\circ}C$ in August through January. High densities of flying squid were found in the thermal fronts with $18^{\circ}C$ isotherm in August and with $15^{\circ}C$ isotherm in September. The densities of flying squid were higher in the western region than in the eastern region in the North Pacific. The high densities of flying squid in the northwestern Pacific were attributed to the high gradients of oceanographic properties in the region. Migration models for flying squid were hypothesized based on the monthly distributions of catch per unit net, mantle length compositions by statistical blocks, and the hydrographic features of the North Pacific. The large flying squid moved to the northern region and to the central Pacific region earlier than the small sized group in the northward migration period (from June to August). Flying squid begin the reverse southward migration from the Subarctic Frontal Zone in autumn with onset of cooling and the development of Oyashio Current. The large sized group starts their southward return migration from more northern waters than the small sized group but the former moves past the later ana reaches the spawing ground first.

• 건강소식
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• v.35 no.11
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• pp.9-9
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• 2011

• Journal of the Korean Society of Fisheries and Ocean Technology
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• v.29 no.1
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• pp.70-80
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• 1993

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.