• Journal of Popular Narrative
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• v.26 no.4
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• pp.43-76
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• 2020

After comparing three video dramas based on Yoon Sim-duk and Kim Woo-jin, this paper intensively explores the movie Praise of Death(1991), which has the most meaningful traits in embodying the characters, focusing on the relationship with the previous works of the director or an actress. The movie Yoon Sim-duk(1969) focuses on meiodramatic narrative around the issue like love triangle or a relationship between out-of-wedlock woman and the wife of one man. The TV drama Praise of Death(2018) is pursuing ideal youth genre between attractive two lovers adorning even the suffering of the Japanese occupation with customary visual image. In comparison, the movie Praise of Death(1991) focuses on visual beauty, while overlaps the agony of two characters as pioneering artists with frustrated love narrative. In the process, this film reveals two-sided characteristics, especially the heroine, compared to the other two. She shows a rift between the passivity for the salvation of man and the activity of choosing even the fall of her own life. In order to examine this trait, we have to explore the other works which affect the movie Praise of Death. This came from the tendency director Kim Ho-sun and actress Jang Mi-hee had built in 1970s films. It also relates in the movies Jang Mi-hee had worked with director bae Chang-ho in the 1980s. The tendency to show a pursuit of classical cultures in the field of popular movies, and to overlap the problems of desire, including sexuality, with mental and intellectual issues, continues from the previous films to the movie Praise of Death for shaping a main female character. This study results in examining the movie Praise of Death in two contexts. One is the context of three video dramas having same materials, Yoon Sim-duk and Kim Woo-jin. And other is the context of the works that director Kim Ho-sun and actress Jang Mi-hee have continued together, or the works that Jang Mi-hee have continued with director Bae Chang-ho. Until now, Yoon Sim-duk and Kim Woo-jin has been used as a material for cultural contents in the various genres over and over again. Under this circumstance, by looking at this movie, one of representative case dealing with Yoon and Kim, in the complex context, it can reaffirm the effect and difficulty in fictionalisation of them as a subject matter.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.157-169
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• 2015

This study focuses on Korea films of historical communication. Narrative analysis was conducted on the films in 2000s including , and <26 Years> that mainly have dealt with the 'Gwangju Democratization Movement'. As a result of the syntagmatic analysis, these films try to stabilize 'social imbalances' in the aspect of individuals and conceals issues of social structure. In addition, the result of paradigmatic analysis reveals that textual factors of 'active involvement of female characters', 'continuity of history through the survivors' demonstrate its strategies to publicize the historical truth. Consequently these films show its limitations that weakens historical meaning by placing unsolved problems of social structure as well as the love story. But rather than describing it as a history of the past, these films act as a catalyst to bring thins specific historical issue to our present lives and publicize it as a current issue. Therefore, the historical film not only allows current generation to remind to history but also to provide an opportunity to publicize the important issues of social structure in the present society.

• 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.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.26 no.3D
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• pp.401-407
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• 2006

VMS which provides information about real-time traffic situation to the drivers is operating 41 places in 204km section at 2003 present time. Contrary to VMS which is constructed in freeway or highway, VMS in Roadway is increasing the demand of relocating according to development of environment. However there is not any definite standard for ITS field devices' relocating. That would be many problem such as re-relocating in the near future. This study presents optimal VMS relocating methodology using the concept of Decision Problem considering budget and number of drivers given information.

• Cartoon and Animation Studies
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• s.26
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• pp.109-130
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• 2012

The purpose of this study is to suggest the direction of the development of the feature length animation for movie theater by analyzing of the reasons of the success of . released in 2011 has broken box office records by drawing 2 millions since drew 760 thousands in 1976. This can be one of the success model of the animation for movie theater, considering it has had trouble not only in planning ability and scenario power but also in producing environment where subcontracts are prevalent. This box office hit seems to have been possible through cooperation and division of movie crews and animation crews. Many kinds of materials are reviewed and producer Kim Seonku was interviewed for analysis of the reasons of box office success. Followings are five reasons of success found as the result of analysis and the body of this article is composed of the argument and analysis of each. 1.This animation was planned and produced in the same way of commercial feature films. 2.There was detailed division of work while producing 3. Various kinds of investments were made sequentially, 4. Major film distributor like Lotte and CJ could be motivated 5. There were producers who can mediate between the animation and film field This study suggests the direction both in the aspect of industry and the aspect of training professionals as the result of analysis. In the industrial aspect, transitional cooperation is needed between animation filed and film field which can motivate distributor. Industrial approach like planning, investment, distribution and marketing is absolute for the success of animation for movie theater. Also in the aspect of training professionals, curriculum needs to be improved in the university because the ability and passion of the professionals in the field of animation industry are the most important and education is the most approachable way.

• KOREAN JOURNAL OF CROP SCIENCE
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• v.32 no.2
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• pp.163-172
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• 1987

Results obtained from this study conducted to find the effect of wind-break net on reducing cold wind damage in the eastern coastal cold wind damaged area are summarized as follows. The rice critical safe heading date was up to Aug. 10 in the eastern coastal area, which the frequency of gale Aug. 10 to Sep. 10 is high. The frequencies of westries and cold wind from sea were 25%, respectively, in this area. The effects of wind-break net on reducing wind verocity were 26.9, 34,6% with raising air temperature of 0.4-0.7$^{\circ}C$ and water temperature of 0.3-0.5$^{\circ}C$. The effect of wind-break net was up to 10 time's distance of wind-break net's height from wind-break net. The installation of wind-break inhanced to rice growth, so showed the heading date earlier by 2-5days and increased culm length, no.of panicles per hill and no. of spiklets per panicle. The yield decrease in this area was due to sterilization, poor ripening and light 1,000 grain weight. The yields showed 20-28% increase by installation of wind-break net. The effect of wind-break net was most in the installation plot with wind-break net against cold wind from sea and westries installed in the panicle formation stage.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.27-33
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• 2024

In this article, this study examines the issue of "Physician-assisted Suicide" and how Ramon Sampedro asserts his right to a dignified death through litigation. Ramon, the protagonist of the movie <The Sea Inside> is a patient, severely paralyzed man who has spent more than 26 years in bed. The only thing he can do is verbally ask his family for help. Ramon can no longer support this worthless existence, so he pursues death with dignity. Ramon files a lawsuit to authorize death with dignity within a legal framework, but is denied on the grounds that life is a duty. Ramon eventually fulfills his desire for death with dignity with the help of his friends. Ramon sets up a camera to document the process of his death and introduces the cyanide, which is used in assisted dying, by inhaling cyanide in front of the camera and dying quietly. Although Ramon is not a terminally ill patient, who can blame him for practicing death with dignity as he chooses to do so. We will need to work to build social consensus and legislate for death with dignity for seriously ill patients like Ramon.

• Atmosphere
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• v.26 no.1
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• pp.59-72
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• 2016

The comparison of prediction errors in geopotential height, temperature, and precipitation forecasts is made quantitatively to evaluate medium-range forecast skills between Global Seasonal Forecasting System version 5 (GloSea5) and Unified Model (UM) in operation by Korea Meteorological Administration during 2014. In addition, the performances in prediction of sea surface temperature anomaly in NINO3.4 region, Madden and Julian Oscillation (MJO) index, and tropical storms in western north Pacific are evaluated. The result of evaluations appears that the forecast skill of UM with lower values of root-mean square error is generally superior to GloSea5 during forecast periods (0 to 12 days). The forecast error tends to increase rapidly in GloSea5 during the first half of the forecast period, and then it shows down so that the skill difference between UM and GloSea5 becomes negligible as the forecast time increases. Precipitation forecast of GloSea5 is not as bad as expected and the skill is comparable to that of UM during 10-day forecasts. Especially, in predictions of sea surface temperature in NINO3.4 region, MJO index, and tropical storms in western Pacific, GloSea5 shows similar or better performance than UM. Throughout comparison of forecast skills for main meteorological elements and weather extremes during medium-range, the effects of initial and model errors in atmosphere-ocean coupled model are verified and it is suggested that GloSea5 is useful system for not only seasonal forecasts but also short- and medium-range forecasts.

• Korean Journal of Environmental Biology
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• v.23 no.1
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• pp.32-46
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• 2005

The distribution and standing crop of the phytoplankton were investigated at five freshwater lakes Suwon-si and Pyongtaek-si, Gyeonggi-do from Mar. to Nov., 2003. In this investigation, 199 taxa in total were found and classified as 5 phylums 5 classes 16 orders 26 families 72 genera 167 species 1 subspecies 28 varieties and 3 forms by Engler's classification system. The indicator species of clean water was Cladophora glomerata, which was appeared in Gwanggyo reservoir on September, 2003. Twenty taxa including Oscillatoria chlorina were identified as the indicators of water pollution, and three taxa of cyanophyte were toxic algae. In terms of Yang and Dickman's standard of chlorophyll-a content in eutrophication of water, four lakes including Seo lake were found to be in the hypereutrophic state, and Gwanggyo reservoir was in eutrophic state except in winter.