• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.195-203
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• 2011

This case study is based on a fundamental class actually done in the film and video department in Sungkyul University. It aimed at suggesting supportive role for typical film production class in universities in Korea. The list of film styles mentioned in this text is selected from the actual ones for the class and it is focused on utilization of sound and camera. It is ultimately designed to guide students to actual making films. First of all, for example, with a humble camcoder, students are encouraged to record both image and his/her narration which is directly recorded into the built-in microphone. Also directional microphone could be used to experience various positions of 'point-of-hearing'. Regarding camera movements, only distinctive ones out of typical utilization are selected to be dealt with. The movements created by moving vehicle such as dolly or crane beyond the limit of human ability could bring up high imagination of students on movement, besides this could be also easily applied to them for using hand-held technique instead of vehicle. This attitude acquired through the course is important for gettig over the resistance they might have before actual experiencing machinary use in production.

• Journal of Game and Entertainment
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• v.2 no.2
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• pp.61-69
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• 2006

Along with advance in visual culture, the importance of motion graphic has been increasingly emphasized day by day, which can maximize information delivery using image illustration and typography, graphic factors of images. In addition, we can easily see increasing cases where what a designer intends is visualized using creative typography in diverse mass media such as TV commercials, movies or web. Thanks to the effects of this trend, various ways of manufacturing works have been proposed in the field of motion typography by applying diverse factors including verbal ones, time, form, motion, colors, and sound for the purpose of expressing formless semantic notions through visual form of typography. However, physiological features such as sex, age, health status, pathological conditions, and body size can have a bigger effect on the process of real communication. Therefore, if property of quasi-verbal sound can be reflected appropriately in motion typography where communication is expressed only by visual form, it can enable people to understand what a designer intends faster and more exactly.

• Journal of Digital Convergence
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• v.10 no.1
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• pp.365-369
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• 2012

We propose a vision-based method that estimates train position and movement for railway monitoring in which we use a fuzzy classifier to determine train states. The proposed method employs frame difference and background subtraction for estimating train motion and presence, respectively. These features are used as the linguistic variables of the fuzzy classifier. Experimental results show that the proposed method can correctly estimate train position and movement. Therefore the method can be used for railway monitoring systems which estimate crowd density or protect safety.

• 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.

• Journal of the korean academy of Pediatric Dentistry
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• v.31 no.3
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• pp.431-438
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• 2004

The purpose of present study was to compare the sedative effect of intranasal and oral midazolam treatment. The study was conducted on twenty eight child patients who required at least two visits. All the patients showed a good physical status (ASA-I). The patient was randomly assigned to receive midazolam either intranasal (Group I, 0.25 mg/kg) or oral (Group II, 0.5mg/kg) route at each visit. Treatment procedure was divided into six stages. In each stage, sleep score, crying score, movement score and overall behavior score were evaluated. The overall results can be summarized as follows: 1. Through all treatment procedures, no significant difference was observed between Group I and Group II in terms of sleep, crying, movement and overall behavior index. 2. In a questionnaire to the parents, 67.8% of parents answered that the child suffered at intranasal administration, while only 17.7% of parents responded the same way at oral administration. 3. In a questionnaire regarding patients' behavior at home after midazolam treatment, 'Similar to normal behavior' was 78.6% in Group I and 57.1% in Group II, indicating that intranasal treatment of midazolam may be more effective for the recovery.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.3
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• pp.371-381
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• 2017

This paper presents a methodology for creating abstract animation based on the human movement theories originating from the work of dance theorist Rudolf von Laban. Laban Movement Analysis is a method and language for describing, visualizing, interpreting and documenting all varieties of human movement, and Choreutics is based on universal patterns of nature and of human as part of a universal design. Laban defines the space of movements in a profoundly dualistic way. Outwardly, his objective and scientific definitions provide a concrete base for generating human movements in computer graphics in terms of geometric and motion primitives such as points, lines, planes, polygons, linear and nonlinear movements. On the other hand, he also offers a system for understanding the subtle characteristics about the way a movement is dynamically done with respect to inner intention. Laban's interpretations of human motion can be utilized potentially in plastic arts and computer arts. Our work was inspired by those physical and psychological analyses and computer algorithms have been developed for creating abstract animation. We presented our computer animation works entitled "Choreography" in the exhibitions: a special section in "2015 Craft Trend Fair" and "Make Your Movement" held in the Korean Cultural Centre in UK, 2016. In this paper, we describe our ideas and methods for creating abstract object movements based on the Laban's motion representations.

• Cartoon and Animation Studies
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• s.19
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• pp.51-64
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• 2010

Although there has been a significant technological and representational achievements in domestic animation industry since the beginning of the 21th century due to the high expectation and boost in production, domestic long and short film animations have been less favored compared to foreign animations because they are less entertaining. For small scale productions including students, it is easier to create short film animations due to small budget and short time frame. In addition, as shown in Pixar animation studios case, production of short film animations can lead to success in production of long film animations from better ideas and technology improvements. This research studies factors that contribute to entertainment and humor of short film animation by examining Pixar's short film animations based on Henri Bergson's comedy factors, which are shape, movement, situation and language, and personality. The most noticeable fact is that the humor by situation is found in all short films. Comedy aspect shown in the form of character's internal characteristic is something that has to be considered from the beginning of character design. Contribution of language is minor compared to movement or gesture, which are more often used to cause humor. Finally, character's personality has to be clear and decided beforehand in order to create comedy situations. After studying various short film animations, I found out that the more successfully humorous an animation is, the more it uses various combinations of the above mentioned comedy factors. By fully analyzing and adopting commercially and artistically successful Pixar's short film animations as the benchmark, planning and production of domestic short film animations can perform entertainment role both domestically and globally.

• Journal of Korean Elementary Science Education
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• v.42 no.1
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• pp.161-177
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• 2023

Scientific explanation is composed of various representations such as texts, diagrams, and graphs, and each representation contributes to expanding scientific meaning by connecting similar but slightly different meanings as a 'mode'. Based on this perspective of social semiotics, we aimed to identify the characteristics of meaning formation demonstrated in students' science writing (verbal mode) and science drawing (visual mode) and to discuss the pedagogical use of multimodal representations. To that end, 18 science drawings and 18 scientific writings constructed by science-gifted elementary students on air pressure were collected. The characteristics of the drawn and written explanations were then analyzed from the affordance perspective in social semiotics. In science drawing, students showed a tendency to use the affordance of the visual mode to infer concrete changes from the particle view, such as the movement of air particles, the number of air particles, and the collision of particles. In science writing, students used the affordance of the verbal mode mainly to infer the causal relationship between the concept of air pressure and other related factors at an abstract level. Based on those results, we discuss the educational implications and provide concrete examples of how to use the unique affordances of each form to complement one another.

• Journal of the HCI Society of Korea
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• v.12 no.4
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• pp.37-44
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• 2017

Eye-typing is one kind of human-computer interactive input system which is implemented by location data of gaze. It is widely used as an input system for paralytics because it does not require physical motions other than the eye movement. However, eye-typing interface based on Korean character has not been suggested yet. Thus, this research aims to implement the eye-typing interface optimized for Korean. To begin with, design objectives were established based on the features of eye-typing: significant noise and Midas touch problem. Multilevel input system was introduced to deal with noise, and an area free from input button was applied to solve Midas touch problem. Then, two types of eye-typing interfaces were suggested on phonological consideration of Korean where each syllable is generated from combination of several phonemes. Named as consonant-vowel integrated interface and separated interface, the two interfaces are designed to input Korean in phases through grouped phonemes. Finally, evaluation procedures composed of comparative experiments against the conventional Double-Korean keyboard interface, and analysis on flow of gaze were conducted. As a result, newly designed interfaces showed potential to be applied as practical tools for eye-typing.

• Cartoon and Animation Studies
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• s.12
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• pp.103-119
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• 2007

This study investigated the comical essence of animations and the comicality found in Korean animations focusing on the comical elements signifying the promotion of laughing and its meaning. In addition, it has been found from this study that the comical essence of animations was the laughing that expanded the recognition and awareness for the entity to be revived, by suggesting the following: 1) the fact that the laughing would be unexpected and it would stimulate the imagination of audience in unprecedented situations in which the method of creation would be unthinkable and thereby the laughing occurred would endow audience with thought, feeling and sense etc. that would not have been perceived so far; and 2) furthermore, the ideal world through grotesque expressions. Meanwhile, unlike the general preconception that animations would be considered one of the popular art forms with strong comical elements, it has been noted that there have been a very few Korean animations with strong comical elements. Besides, it has been confirmed that they have focused not on created and grotesque comicality, but on linguistic comicality based on the forms of characters or their movement itself, or humor and witty remarks.