• Korean journal of communication and information
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• v.26
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• pp.7-44
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• 2004

This paper proposed semiotic model to explain representation process of time in cinema. Limitations of cinematic narratology which explain representation process of time in cinema were indicated, then alternative explanations of Deleuzian philosophy of cinema were proposed. After discussion about articulations of cinematic code, Deleuzian concept of movement-image was suggested as semiotic minimal unit of cinema. In cinema, Movement-image is divided two different aspects ; "normal movement-image" and "abnormal movement-image". Therefore, two different semiotic representation process of time was reconstructed in accordance with Peircean semiosis theory. In this two different semiotic process, modern cinema emphasize the direct representation process of time with "abnormal movement-image". As Deleuze indicated, The "time-image" is presented in this semiotic process. The "time-image" makes it possible to consider "time itself" as philosophical fact which is laid between reality and cinema, This semiotic process more emphasizes pure expressionality than representationality. Deleuzian philosophical journey through cinema was started in this point.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.165-172
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• 2019

Signs of the street and scenes of the nature(tree) popping up like a still screen in a monotonously repeated routine, as if waiting for something by chance, characters appearing and disappearing without special meaning, advise you to get away from cliché meetings and breakups while repeating it. The images of people returning to their places without presenting any conclusions highlights the coincidences and unexpectedness of everyday life, but are so familiar that it is easy to be overlooked, it brings us to experience the potential of everyday unfamiliarity in such moments. The actor's performance, which deviates from the practice of well-organized characters, is improvised (unplanned and uncoordinated) emphasized on the scene and expresses the everyday nature of his differentiated character freely like the reality as if he were locked up in a film structure but not confined to it, and as if he got used to the everyday life. Also the repeated words and actions of characters, and unpredictable changes of emotions, centered by the encounters and conversations of this film of Hong Sang-soo, everything that is presented in the background of everyday life in its form, let's us pay attention to the meaning and what to be found in the film. In addition, director Hong Sang-soo, who creates a story after selecting actors to reproduce this daily process in a realistic manner, sets new relationships between the characters and the actors, presenting a new method of realistic expression, through the actor who repeatedly appears in the film. This study analyzes the everyday characters and acting of the film based on director Hong Sang-soo's directing style.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.101-110
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• 2019

The actor's art work is to build and create a role on stage based on the writer's drama. The actor's role creation is possible by analyzing the role of the writer in the drama logically and acting it actively. This is how an actor who practices practical acts goes beyond a stereotypical role-building and performs live acting skills. A case study in the field work for the application of Etude is absolutely necessary at present, where Etude of Stanislavsky is operated in Korean university education and field. This study will be a case in which Etude, which is a scientific and systematic acting methodology of Stanislavsky, is recognized and applied in the field as a methodology for more extended actor training methodology rather than making a judgment about the value of Etude as applied to theater education and the field as an acting training method. The researcher will introduce the methodology of using Etude as an acting method of Stanislavsky through the use of Etude in the creative play , and would like to give an example of an acting creation process model about 'how to apply Etude'. Through these studies and applications, actors can avoid falling into stereotypes and mannerism, and prepare the foundations for a living actor's art, the acting guide for creating a practical role.

• Korean Journal of Microbiology
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• v.30 no.3
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• pp.154-159
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• 1992

Forniation ancl ~regcncration oi' conitlial pro1oplast of Pc, ti~i.rlli~in~~~ c~rr~~culo.hryupmel.- - czllulolytic Ihngus. were examined. By using Novozyme 134(1'!/0 w/c) as a cell wall lytic enzyme. the highest yield of protopl;~sts exceeding 501%, war obtained from the qwollen conidiosporcs preincubatrd in the minimal medium containing 2-tleoxy-D-glucose(2-UC;. 75 pglml) for 10-11 11. No protoplast were obtained horn dormant spores. The regeneration frequency of the protoplasts was 49.2'!11. which was higher than that of mycclium originated protoplast (4.6-17.X1X, . in 0.6 M MgS04. pH 5.6). 'l'lie best osmotic stahilizcr ror the isoaltion and regcueration of thc protoplast was 0.6 M iimmonium sulfatc and 0.6 M magnesiuni sulfhte. respectively. 'I'lie process of the protoplast isolaiton l'ro~n swollen cnnirliospore ancl regeneration ha\, ing two pattcrns from protoplast were obsen'etl through light microscope.

• The Journal of the Korea Contents Association
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• v.15 no.8
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• pp.156-169
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• 2015

The negative awareness of a multiculturalism rises around the world because of various problems that happen with the multicultural phenomenon. Nevertheless, the reason we uphold multiculturalism is that multicultural phenomenon is an inevitable consequence of capitalism and the decline of multiculturalism might imply danger of bringing about radical nationalism. This study assumes that a distortion of multiculturalism is the result from a myth of romance film which affects the public perception as an integral component of a discourse. Grounded upon monomith, the narrative structure of romance film of which motive comes from courtly love makes people miscomprehend the value of multiculturalism because of the multicultural factor as substitute for romantic obstacle. As the character of romance movie is likely to be formed focusing on superficial images and denotations, this tendency causes the hierarchy and the representative minority drives out the rest of other minorities. The attempt to arouse people's tolerance and understanding of the other is frustrated both by the structure of binary oppositions and the clich$\acute{e}$.

• The Journal of the Korea Contents Association
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• v.10 no.6
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• pp.249-257
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• 2010

In performance art, actors on the stage play an important role. The purpose of performance art is not in producing expression of superficial or trite pleasure, but in presenting a source of philosophical catharsis regarding essence of a human life. It is actors' responsibility to bring such expression onto the stage. Performance art not only involves technical skills but should be a cultural expression to represent tradition, spirituality and identity of a nation. In Korea, performance art tends to follow Western methods of expression. It is desirable to set a future direction to further develop methodology of expression in performance art. As part of such effort, the research examines how the rhythm of traditional Korean dance and dimension of time and space in performance art are effectively visualized in their relation to "stage direction." The research illustrates characteristics and concepts of Korean dances in terms of inhalation in deliberate hypogastric breathing ("danjeon') and rhythms of exhalation (gutgeori, jajinmori, huimori). Also, the research aims to enhance dramatic effect on the stage, which is distinguished from presentation of ordinary actions, by emphasizing dimension of time and space in visualizing expression.

• The Journal of the Korea Contents Association
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• v.9 no.11
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• pp.175-183
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• 2009

This study is the full-scale research of a TV drama writer, who has been out of scholarly pursuits, examining the differentiality and tendency of the most popular TV drama writer, Su-Hyeon Kim. By focusing on her recent melodrama , this study shows that the writer used her own category grammar, 'pursuit of psychology' and 'reversal of dichotomy', which led her to convey the drama's message of the 'self-reflection' on love successfully. This analysis would be the good result of overcoming all the raised melodrama's negative elements in Koran TV such as conventionality, dichotomy, unreality, and excessive emotion. Also this paper presents that the writer showed an advanced tendency on the gender ideology, overthrowing the existing patriarchal gender ideology. This study proposes the further research to analyze what sort of influence is the writer's own category grammar. Also this study proposes the following research on that the writer's advanced tendency in melodrama could applicate the other genre drama of her's, stressing the necessity of sustaining research work on TV drama writer.

• The Journal of the Korea Contents Association
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• v.7 no.8
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• pp.125-133
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• 2007

While films today offer spectacle to the viewers due to the advanced technique, the "Modern Cinema"-a term named by Deleuze- offers spectators an opportunity to think about what they observe and to have various filmic experiences through the shifting of time image within the film narrative, which has been rather neglected as it is just a form in the realm of classic narrative. Originally the shifted time image was a result of thinking about the identity of a film. But it has self-reproduced over and over, and now it has turned into one of cliches that narrative films take. In this sense, a Korean Melodrama "Sarang-ni" is discriminated from other films which take twisted time image as a convention. The film "Sarang-ni", instead of adopting established shifted time image, put us to the confused time arrangement and then it amazingly arouses emotional effect which it initially meant to convey. This journal analyzes how the time representation of operates in the film's narration, and consequently how the form affects the storytelling.

• (The)Study of the Eastern Classic
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• no.36
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• pp.105-134
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• 2009

Since long ago, "The Discourse of Confucius" has been considered as one of the must-read classical literatures in the world of art. The term Huì-shì-$h{\grave{o}}u-s{\grave{u}}$ (繪事後素) in this literature is not only known by the painter but is also known to anyone who discuss about pictures. However, there is a great diversity of interpretation between its meaning of "drawing a picture is done when its basis is ready" or "drawing a picture is done later when completed with white color". The method of drawing does not change much with time. Scholars usually consider professional paintings conventional and don't understand well the white characteristics of the painting technique. In any case, it is basic to deal with the basis before drawing but completing the picture, finishing with white is not so common. Paintings from ancient times are not so different from today's silk pictures. Because Huì-shì-$h{\grave{o}}u-s{\grave{u}}$(繪事後素) fostered the attainments being the basis of life and the artistic sense, it remains as the aesthetics to many artists. The interpretation of Huì-shì-$h{\grave{o}}u-s{\grave{u}}$(繪事後素) is related to the change with time in 'The theory of courtesy(禮論)' but this study focused purely from the artistic point of view.

• The Journal of the Korea Contents Association
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• v.22 no.3
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• pp.112-120
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• 2022

In order to examine the cultural vicious cycle of gender representation in online educational content, this paper reviewed the top five popular webtoons of inamootoon (EBStoon), Korea's first children's webtoon platform. The patterns of appearance representation that distinguish character's gender, the desire and psychology of characters according to gender, and their functions in the work were critically analyzed from a feminist perspective. In most of the works, the appearance of characters often follows gender stereotypes. It appears that women have long hair and wear dresses while men have short hair. On the other hand, the gender characteristics in terms of psychology and function show the aspect of breaking gender's cliche. The gender proportion of the protagonists is almost the same. Regardless of gender, they function as solvers or rescuers, bravely and wisely overcoming the problem situation. By the way, it is interesting that in representing the main character's gender, the weaker the gender stereotypes, the more popular the work among the readers. This fact suggests that the critical acceptance and choice of young readers can break the cultural vicious cycle of gender representation.