• Broadcasting and Media Magazine
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• v.10 no.1
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• pp.99-112
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• 2005

Christian Metz, the precursor of cine-semiology, considered cinema as a language in the sense that it is a set of messages grounded in a given matter of expression, and a signifying practice characterized by specific codifications. According to Metz, film forms a structured network produced by the interweaving of cinematic codes, within which cinematic subcodes represent specific usages of the particular code. For Metz, cinematic language is a totality of cinematic codes and subcodes, and history of the cinema is the trace of the competition, incorporations and exclusions of the subcodes. He also suggested a filmic text is not just a list of codes in effect, but a process of constant displacement and deformation of codes. Following Metz' textual analysis methodology, I investigated the formal configuration of Hayao Miyazaki‘s animation, Spirited Away. It is interesting to trace the interweaving of cinematic codes in Spirited Away, i.e. codes of lighting, color, movement, and auteurism, across the animation. I focused on the first scene at the bridge to Yubaba's bathhouse, analyzing each cinematic code and its subcode applied. The first bridge scene is carefully constructed to stand out the confrontation of Chihiro (with Haku) and the bathhouse. The bathhouse is not just a building, it represents the powerful witch, Yubaba, yet to appear on the scene, and functions as an antipode to Chihiro. In each shot, every subcode within the codes of framing, direction, angle, color, lighting and movement is used to maximize the contrast between the dominant bathhouse and the feeble 10-year-old girl. In Spirited Away, the subcodes within each cinematic ode are constantly competing and displacing each other to augment the antithesis between the characters and develop the narrative. As Metz's argument that film constitutes a quasi-linguistic practice as a pluricodic medium, Spirited Away communicates with the spectators with the combination and displacement of these cinematic codes and subcodes.

• Trans-
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• v.3
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• pp.1-28
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• 2017

As the field of film aesthetics expands, the concept of classical the mise-en-scene expands too its scope. This paper examines the concept of mise-en-scene through spatial connections. The primary goals of this study are understanding the relation between the frame and the shot, the continuity between the scene and the sequence, and the aesthetic dimension to the plan-sequence. In modern cinema theory, the elements of mise-en-scene are more emphasized in terms of efficiency, but this study is concerned that the classical aesthetic system is still important. To this end, we examine the concept of plan-sequence, which was called the best technique of past visual realism aesthetics, is utilized in digital cinema. Finding significance for the modern use of plan-sequences is a secondary goal of this paper and we expect it to be a stepping stone to search for the aesthetics of digital cinema. The plan-sequence is one of the important factors that can be evaluated in the preparation and application of the event for the movie director. In the real world where the film itself is used commercially, digital film will have a conceptual tool that can utilize allegorics of 'geopolitical unconsciousness' through plan-sequences.

• Journal of the Korean Chemical Society
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• v.43 no.1
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• pp.7-119
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• 1999

• The Magazine for Energy Service Companies
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• s.41
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• pp.26-27
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• 2006

지난 2004년 센추리를 인수, 앞으로 3년 안에 국내 최고 냉동공조전문기업으로의 위치를 점하겠다는 화인텍센추리(사장 임재인 www.century.co.kr)가 지난 3월 ESCO에 등록했다.화인텍센추리는 국내에서 상대적으로 저조한 실적을 가지고 있는 건물부분의 ESCO사업을 활성화, 에너지 절약형 건물의 가치를 끌어올리겠다는 포부를 밝혔다.

• 프린팅코리아
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• v.12 no.9
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• pp.94-95
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• 2013

프린벨트(주)(대표이사 이근성)가 지난 8월 24일 프리마호텔 3층 마이센에서 토마스 플라텍 록셀 본사 부사장 방한 제품설명회를 개최하고, 특수인쇄용지 및 패키징 솔루션 공급을 시작한다고 밝혔다. 프린벨트(주)는 한국하이델베르그에서 영업이사를 역임한 이근성 대표이사가 지난 8월 1일 설립, 록셀그룹의 한국대리점으로 영업을 시작했다.

• Proceedings of the KIEE Conference
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• 2011.07a
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• pp.1756-1757
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• 2011

본 논문에서는 FXLMS 알고리즘을 이용하여 3차원 폐공간(반무향실)에서의 순음(125Hz)을 이용하여 부 음원과 에러센서의 위치 변화에 따른 소음저감 정도를 분석하였으며, 이 결과를 바탕으로 능동형 방음벽의 구현의 기초자료로 활용하고자 하였다. 부음원(제어스피커, 이하 부음원)과 에러센서간 거리차는 0.5m, 1.5m, 2.5m를 대상으로 실험을 실시하였으며 그 중 거리차가 1.5m 지점의 경우, 125Hz부근에서는 최대 18.3dB, Overall(80Hz~200Hz)값은 18.2dB(A)의 소음저감 효과가 있는 것으로 나타나, 가장 효과적인 부음원과 에러센서간의 거리차인 것으로 평가되었다.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2000.04a
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• pp.754-757
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• 2000

인터넷을 이용한 사이버 거래가 빠른 속도로 증가함으로써 기업에게 있어 인터넷 쇼핑몰 구축은 더 이상 선택사항이 아닌 필수 사항이 되었다. 하지만 현재 사이버 거래 수준은 전통적 상거래 수준에 못 미칠뿐더러 거래 항목에 있어서도 매우 제한적인 것이 사실이다. 앞으로 사이버 거래는 계속적으로 증가하리라 전망되지만 제품의 특성 혹은 고객의 기호에 따라 전통적 상거래도 그 영역을 차지하며 함께 양립하여 발전할 것이다. 이에 본 연구에서는 기존의 상거래 시스템에 사이버 거래기능을 추가하는 모델을 제시한다. 먼저 지리적으로 멀리 떨어져 있는 유통망의 정보화를 위하여 인터넷 기술을 이용하고 공급체인(Supply Chain) 전체에 걸친 동기화를 위해 TOC(Theory of Constraint)의 DBR(Drum-Buffer-Rope) 스케줄링을 응용한다. 모든 생산 및 유통의 흐름 속도가 최종 분배 센타에 접수되는 고객의 요구에 따라 이루어지게 함으로써 공급체인 전체에 걸친 동기화를 이룰 수 있고 지속적인 버퍼 관리를 통하여서 재고의 절감은 물론 미출고의 발생도 최소화할 수 있다. 만약 분배 센타에 재고부족 현상이 일어날 경우에는 공급체인 상의 능력제약자원(Capacity Constraint Resource . CCR)을 찾아 개선 활동을 수행하며 공급체인의 흐름 속도를 능력제약자원에 맞추어 조절한다. 분배 센타에서 대리점 혹은 사이버 고객으로의 배송은 부분적 분할납품 Partial Transshipment : PT) 전략을 적용한다. 즉 각 분배 센타가 관리하는 수요지 중 인접한 지역을 부분적 분할납품 전략 적용 수요지로 선택하고 사이버 거래를 통해 생성된 물류가 부분적 분할납품 전략 적용 수요지에 분배되게 함으로써 각 분배 센타의 재고 완충역할을 수행하게 한다. 이에 따라 안전 재고 및 역 배송을 최소화 할 수 있을 뿐 아니라 미 출고로 인한 손실을 최소화하며 고객의 서비스를 일정하게 유지시킬 수 있을 것으로 기대된다.

• Cartoon and Animation Studies
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• s.16
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• pp.257-272
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• 2009

I analysis Alfonso Cuaron's comparing it with Charles Dickens' the original novel and David Lean's . In order to evaluate film which is based on classic novel, formal difference between film and novel, people's preference in those days and director's interpretations should be considered besides how the film follow the original novel faithfully. Regarding to these valuation basis, David Lean's film is true to the original novel and same time successful to add director's interpretation by using Mise en secne in it. Alfonso Cuaron is also succeed in filming well-made, people-like work by modifying the original novel with the convention of melo-drama genre and by using modern film form without breaking Hollywood classic film grammar.

• Journal of Families and Better Life
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• v.27 no.2
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• pp.77-97
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• 2009

This study evaluates the poverty experiences of low-income single mothers according to the Capability Approach of Amartya Sen. In this approach, the capability to achieve the basic functionings of life, not income itself, is the criterion of poverty. 26 single mothers were interviewed using focus-group interviews and in-depth interviews. 21 functionings on the existence level, 18 on the relatedness level, and 15 on the growth level were found in the areas of work, health, food consumption, clothing, housing, child rearing, and leisure. The results of this study suggest that low-income single mothers can achieve only some of the existence level functionings with significant help from welfare services. They can scarcely achieve higher level functionings in any of these areas.

• Journal of Digital Convergence
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• v.14 no.11
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• pp.489-494
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• 2016

Stop-Motion Animation is the work that gives lives to the objects. In order to give lives to objects and to form story line to persuade the audience, it is important that the reason of choice of color, material, and texture has something to do with the narratives. For this study, among the Garri Bardin's animation, the ones with good representation of the objects have been chosen: Conflict (1983), Fioritures (1987), and Adagio (2000). With these animations, I would like to look for the meaning of existence of the objects, and to consider the importance of the relationship between the types of objects that are represented and the narratives.