• Journal of Korea Society of Industrial Information Systems
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• v.11 no.1
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• pp.29-37
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• 2006

Due to the spread of mobile communication with the development of computer network, nowadays various types of multimedia data play an important role in many areas such as entertainments, culture contents, e-commerce or medical science. But for the real application of these data, the security in the course of saving or transferring them through the public network should be assured. In this sense, many encryption algorithm have been developed and utilized. Nonetheless, most of them have focused on the text data. So they may not be suitable to the multimedia application because of their large size and real time constraint. In this paper, a chaotic map has been employed to create a symmetric stream type of encryption scheme which may be applied to the digital images with a large amounts of data. Then an efficient algebraic encryption algorithm based on the elementary operations of the Boolean matrix and image data characteristics.

• Journal of the Korea Convergence Society
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• v.8 no.4
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• pp.159-165
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• 2017

The purpose of this study is to analyze the 'Scenery of the Modern City' revealed by Korean films of 1930 40s. It is assumed that films always reflect the cityscape and human activities of those days. For the analysis, a pool of 8 Korean films from 1934 till 1944 was constructed. In these films, the sceneries of the city were represented as the following: 1) The cityscape including modern buildings and speedy transportation was intentionally represented to express visually the city of Gyeongseong under the wave of modernization. 2) The western-style architectural spaces, such as apartment, mansion, department store, cafe, and hotel, were emphasized to reflect the curiosity and longing of the general public for western culture and lifestyle.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.10a
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• pp.647-650
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• 2009

In recent years, an understanding and concern about the Photo Realistic CG increased while the CG industry grew. The overall understanding of a system, an output and algorithm, and etc. are needed in order to implement the Photo Realistic CG. Moreover, for the realistic output on CG, the texture task that it is logical the various environment condition according to the physical environment and time, and etc.s has to show. For carrying out the Photo Realistic CG texture task, the extensity of a texture, the physical properties, a material, and an environment, the various access and the logical analysis are needed. Analyzed data reaches the direct affect to the final product for expressing. The realistic ancient history site, and the cultural inheritance and industrial product will be implemented with the ground of the research of the upper part in the imaginary realistic world.

• Journal of Digital Convergence
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• v.19 no.7
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• pp.349-358
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• 2021

In the 1980s, the rapid development of Hong Kong genre films began the myth of Hong Kong's New Wave films, which had a profound impact on Taiwanese films of the same period. Later, two leading film directors, Hou Xiaoxien and Edward Yang, appeared in the process of being influenced by Taiwanese film Ganyu Wave. In this paper, we conducted research on the art style, theme style, film language, and aesthetic narrative methods of films of Hou Xiaoxien and Edward Yang against the backdrop of Taiwan's New Wave era. In addition, the visual characteristics of Taiwan's New Wave films, and the two directors have drawn suggestions on Taiwan's new generation of directors and the Taiwanese film industry, and presented a colorful film creation scheme for the creation and innovation of the new generation of filmmakers.

• Journal of Digital Convergence
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• v.19 no.3
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• pp.345-352
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• 2021

Based on the exploration of the reasons why Shunji Iwai is called "Wong Kar-wai of Japan", this paper compared and studied the image style of two directors films, and explored the theoretical characteristics of their similarities and differences, so as to provide inspiration for the development of Chinese national films. This is the purpose of this paper. Through the search of literature, cultural background analysis of the two directors, film style comparison and film aesthetics comparative analysis and other research methods, this paper made a more in-depth theoretical research on the films of the two directors. It was found that the films of the two directors showed the characteristics of narrative abstraction and image beautification, but there were also some differences in the choice of narrative subjects. The research of this paper provided a new train of thought and starting point for us to study and explore the films of two directors, and pointed out a new direction for us to explore the trend of national films.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.35-43
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• 2022

The 2020 Gwangju Media Art Festival (2020 GMAF) was held in the area of the National Asian Cultural Center. Under the slogan "The entire Gwangju shines under the theme of "Aesthetics of Light and Coexistence," the media festival demonstrated projection mapping to Jeonnam (former) Provincial Office at the DATA+ Research Institute of Chung-Ang University's Graduate School of Advanced Video. This paper focuses on explaining the overall production process and content development of projection mapping demonstrated in the Jeollanam-do Provincial Government, which is a symbol of Korean democratization and is located in the center of Gwangju, Jeolla-do. It was intended to faithfully express the history of the 2020 GMAF and Jeonnam (former) provincial government, Gwangju's history, and democratization records. It was intended to show images, background sounds, sound effects, and visual effects using various special effects and high-power laser devices using unique characteristics of projection mapping. To this end, about 5 minutes and 30 seconds of content were planned, and it was divided into parts and topics, and one individual story was developed for each chapter.

• Cartoon and Animation Studies
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• s.35
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• pp.29-65
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• 2014

Visual culture art education (VCAE) seems to be the new paradigm for art education after postmodernism. Getting beyond the traditional art education, VCAE has expanded its scope of interest to include the visual environment that surrounds our life, thus pushing the boundary of art education beyond the traditional fine arts to cover pop culture and visual art. VCAE shares the issues as well as a lot of elements of culture and art education and in fact serves as a major theoretic background for culture and art education, in that it pays attention to the sociocultural context of images and emphasizes visual literacy and constructionist learning. In this paper, I have reviewed the theoretical background and related issues of VCAE with a view to presenting a direction for animation education, which is gaining in importance coming into the Age of Digital Media. VCAE was born in the progressive cultural atmosphere from the 1970s and thereafter, and its gist consists in figuring out visual artifacts and their action in order to improve individual and social life. Yet, VCAE continues with its development according to the changing aspects of visual culture, and currently, it is expanding its scope of interest to cover the esthetic, experiential education in visual culture and construction of meaning through digital story-telling. In the visual environment of the Digital Age, animation is establishing itself as the center of the visual culture, being a form that goes beyond an art genre or technology to realize images throughout the visual culture. Also, VCAE, which has so far emphasized visual communication and critical reading of culture, would need to reflect the new aspects of the visual culture in digital animation across the entire gamut from experiencing to understanding and appreciating art education. In this paper, I emphasize on Cross-Curricula, social reconstruction, the expansion of animation education, interests in animation as a digital media, and animation literacy. A study of animation education from the perspective of VCAE will not only provide a theoretical basis for establishing animation education, but also enrich the content of VCAE, traditionally focused on critical text reading, and promote its contemporary and futuristic orientation.

• Korean Journal of Heritage: History & Science
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• v.43 no.3
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• pp.306-333
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• 2010

Previous studies on Wolseong fortress have focused on capital system of Silla Dynasty and on the recreation of Wolseong fortress due to the excavations in and around Wolseong moat. Since the report on the Geographical Survey of Wolseong fortress was published and GPR survey in Wolseong fortress was executed as a trial test in 2004, the academic interest in the site has now expanded to the inside of the fortress. From such context, the preliminary research on the fortress including geophysical survey had been commenced. GPR survey had been conducted for a year from March, 2007. The principal purpose of the recent 3D GPR survey was to provide visualization of subsurface images of the entire Wolseong fortress area. In order to obtain 3D GPR data, dense profile lines were laid in grid-form. The total area surveyed was $112,535m^2$. Depth slice was applied to analyse each level to examine how the layers of the remains had changed and overlapped over time. In addition, slice overlay analysis methodology was used to gather reflects of each depth on a single map. Isolated surface visualization, which is one of 3D analysis methods, was also employed to gain more in-depth understanding and more accurate interpretations of the remain The GPR survey has confirmed that there are building sites whose archaeological features can be classified into 14 different groups. Three interesting areas with huge public building arrangement have been found in Zone 2 in the far west, Zone 9 in the middle, and Zone 14 in the far east. It is recognized that such areas must had been used for important public functions. This research has displayed that 3D GPR survey can be effective for a vast area of archaeological remains and that slice overlay images can provide clearer image with high contrast for objects and remains buried the site.

• The Korean Journal of Archival Studies
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• no.78
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• pp.197-249
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• 2023

This paper focus on the demand for broadcast and video archive contents by users outside broadcasters as the archive openness and sharing projects of terrestrial broadcasters have become more active in recent years. In the process of creating works using broadcasters' released video footage, the study examined the criteria by which video footage is selected and the methods and processes utilized for editing. To this end, the study analyzed the the case of the 5.18 footage video sharing project 〈May Story(Owol-Iyagi)〉 contest organized by KBS in 2022, in which KBS released its footage about the May 18 Democratic Uprising and invited external users to create new content using them. Analyzing the works that were selected as the winners of the contest, the research conducts in-depth interviews with the creators of each work. As a result, the following points are identified. Among the submitted works, many works deal with the direct or indirect experience of the May 18 Democratic Uprising and focus on the impact of this historical event on individuals and our current society. The study also examined the ways in which broadcasters' footage is used in secondary works. We found ways to use video as a means to share historical events, or to present video as evidence or metaphor. It is found that the need for broadcasters to provide a wider range of public video materials such as the May 18 Democratic Uprising, describing more metadata including copyright information before releasing selected footage, ensuring high-definition and high-fidelity videos that can be used for editing, and strengthening streaming or downloading functions for user friendliness. Through this, the study explores the future direction of broadcasters' video data openness and sharing business, and confirms that broadcasters' archival projects can be an alternative to fulfill public responsibilities such as strengthening social integration between regions, generations, and classes through moving images.

• Korean Journal of Heritage: History & Science
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• v.47 no.2
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• pp.32-45
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• 2014

The aim of this study is to raise a cognition and necessity of effective geoheritage education for pre-service teachers. We conducted a survey research of 190 elementary and secondary pre-service teachers in Chung-buk province, 2013. The survey showed that pre-service teachers did not recognize and explain geoheritatges well due to lack of education even though they have heard about 'geoheritages' through broadcast media. Although most pre-service teachers were not trained for geoheritage courses, some of them were educated from their elementary and middle school teachers. However, even the trained pre-service teachers have insufficient cognition for geoheritages, either. Some of pre-service teachers recognized the significance of geoheritages and responded to a necessity of geoheritage education. The pre-service teachers recognized that education for geoheritages is not included in present elementary and secondary curriculum, even though education of geoheritages by teachers at school would be the most effective approach. Furthermore, the pre-service teachers answered that elementary school curriculum should raise much curiosity and provide effective learning for geoheritage education even though negative views are present such that students may have to spend considerable time for geoheritage education. Finally, the pre-service teachers expect to experience with field activities for geoheritage education as a present curriculum, and responded that they would prefer video aids for education provided from professional geoheritage organization. As a result of this investigation we provide strategy for introducing to Pre-service teachers about value and preciousness of geoheritage.