• Journal of Korean Philosophical Society
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• v.142
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• pp.221-241
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• 2017

I try to elucidate the essence of cinematic art in terms of Nietzsche's physiological philosophy of art. According to Nietzsche, the mise-en-$sc{\grave{e}}nes$ in the film are expressions of willingness to the power of the author, the director. These are not re-imitations of the imitations with Platonic measure, sinker, number, but framing the elan vital Erde, die $urspr{\ddot{u}}ngliche$ Vorstellung with the director's body-camera. In this context, the film is essentially die Kunst des Lebens, in which the body and the earth are mediated by cameras. Therefore, it is not the eyes or the head, but the body that is necessary to appreciate film art. But the body at this time does not mean the heavy body of Hollywood standard audiences manipulated, controlled, or transformed by capital. We should stand in front of the film work with body shaking between trauma and Rausch, a dancing body, and a light and fresh body. Only by watching film with the body, can we achieve the small revolutions in everyday life. For example, if we watch $B{\acute{e}}la$ Tarr's film The Turin Horse in such a way, we can no longer be the dwarfed human beings, der Herde-Mensch. Also, $B{\acute{e}}la$ Tarr's mise-en-scene will make us realize why Nietzsche had said that there is art to us not to be destroyed by the platonic truth.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.22 no.2
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• pp.248-258
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• 2021

The study analyzed the financial determinants of corporate R&D intensity that require more attention from academics and practitioners in the Korean capital market. Domestic small and medium enterprises (SMEs) may face with developing substitutes by making more R&D investments in scale and scope, given the unprecedented economic conditions such as the limitation of importing core components and materials from other nation(s). KOSDAQ-listed SMEs were selected as sample data, whose R&D expenditures may be less than those of large firms during the post-global financial turmoil period (2010~2018). Static panel data model was applied, along with Tobit and stepwise regression models, for examining the validity of results. Logit, probit, and complementary log-log regressions were also employed for a relative analysis. R&D expenditures in the prior year, the interaction effect between the previous R&D intensity and high-tech sector, firm size, and growth rate were significant to determine R&D intensity. Moreover, a majority of explanatory variables were found to change between the years 2011 and 2018, while time-lagged effects between the R&D intensity and growth rate exist. Results of the study are expected to be used for future research to detect optimal levels of R&D expenditures for the value maximization of SMEs.

• Journal of Digital Convergence
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• v.19 no.3
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• pp.453-463
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• 2021

The purpose of this study is to establish the most severe impacts of Covid-19 in the field of the performing arts and to explore countermeasures taken both at home and abroad. This study has been conducted through literature surveys. The conclusion is as follows. First, since the outbreak of Covid-19, theater venues around the world have actively taken part in uploading recorded performances to streaming services. Secondly, these performance visualizings are generally considered as being complimentary goods rather than a substitute for live performance. Thirdly, although more audiences are tuning into watch on-line performances, consumption is concentrated on a few theaters which have a worldwide reputation and a broad range of content. Fourthly, to tackle the impact that Covid-19, the UK government announced a series of job protection schemes in the field of the Arts. In addition, Arts Council England prepared an emergency response package. In Korea, some countermeasures such as government support for artists and cultural establishments have also been implemented. Lastly, some suggestions for the sector. I conclude that there is an need for domestic companies to secure core contents of significant quality and to make strategic alliances with leading overseas performance companies so that they may cooperate together.

• Journal of the Economic Geographical Society of Korea
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• v.9 no.1
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• pp.23-38
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• 2006

This study attempts to investigate the spatial characteristics of cultural economies of Bukchon in Seoul, where abundant cultural assets exist. This area has been the administrative-political core locale since 14C, therefore, a lot of traditional- and contemporary-cultural facilities are remains, This area possessed unique place characteristics by coexisting traditional and modern cultures, and thus attracted to culture demanders. Recently many economic activities have increased in this area, and most of them are related with the cultural elements of the region, In particular creative retail shops, which produce goods by flexible-specialized production system, have been agglomerated in this area, The goods are designed, produced, and sold at the shop place. Most of them are uniquely designed hand made products, and produced a few amount. The economic value of these products related with the cultural environment of Bukchon. These creative shops emerged at the front of Samcheongdong street in the beginning, and then have diffused into the inside of Samcheongdong street and Hwagae street. The shops have very unique exteriors related with traditional houses in this area, and located on roadsides where are not many passerby. Most owners of the retail stores are highly educated and studied design, and produce goods by themselves at the shops. The reason that they opened their shops in Bukchon is directly related with the unique cultural environment of this area. They hope that more unique and artistic stores join this area so that developed this area as culture and fashion combined area.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.93-101
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• 2010

This paper aims to analyze success factors for the construction of Supdari(a traditional wooden bridge to connect small streams temporarily), which is a citizens' initiative project to revitalize local community in Jeonju-River, Jeonju City. Recently Supdari has been restored for the use of belongings in local festivals. But Jeonju-River Supdari was designed and built to unite local citizens and connect river-divided villages. This project shows how investing social capital like Supdari makes the community vitalize through citizen's active participation. As a citizen leading project, there were several critical factors for sucess. At first, there were some noticeable ways to encourage local citizen's participation in online and offline. In the online, the Supdari internet cafe introduced what is a Supdari, how to make it and where we build using various media of UCCs and photos. In the offline, the small scaled model of Supdari was made and exhibited in the entrance of the village and related several seminars were hosted to discuss how to construct Supdari with citizens, local assembly men and public officials together. The Second is the movement to restore traditional and cultural resources for the community recovery triggered the supports from local councils and many civic groups. Civic groups supported ecological and structural expertise to guarantee environment friendly and stable construction. And local councils mediated citizen's and administrative office's opinions. The third is flexible administrative management to help citizen's ideas to be realized. Officials extended setting period of Supdari on the condition with the civic-control safety management.

• Cartoon and Animation Studies
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• s.43
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• pp.47-75
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• 2016

This study has analyzed the history of the subcontract animation in Korea that began with Golden Bat of TBC Animation Division in 1966 to 1980s and shed the light on the history of subcontract animation that has been processed over 30 years in Korean animation. For this purpose, through the outlined status of subcontract animation, such as, production company, production status, scale of industry and so forth, the status of the OEM industry then has been checked and it links the solidified background of animation into subcontract production industry with the situation in time for analysis. In addition, on the basis of the foregoing, it is intended to broaden the horizon of the history of animation through the analysis on new search for facilitating the creative animation by overcoming the issues and limits generated by the subcontract animation industry. 1970s was the time that the national objective is to advance heavy-chemical industry and export-led economic growth. From the late 1970s, the animation has been spot lighted as the main-stream export industry through the overseas subcontract orders for animation. Expansion of the subcontract animation production has been influenced from the national policies on public culture, dispersion of color TV, facilitation of video production market and other media changes of the time that led the decline of animation audiences in theaters, and another cause would be in lack of platform of broadcasting companies that avoided the independent animation production for its economic theory. The subcontract animation industry may have the positive evaluation in the aspect of expanding the animation environment, such as, structuring of animation infra, development of new human resources and etc. However, the technology-incentive 'production'-oriented advancement has created distorted structure in advancing the professional human resources due to the absence of 'pre-production' of planning and others as well as the insufficient perception on 'post production (post work)', and it was unable to formulate domestic market by re-investing the capital accumulated for OEM industry into the production of creative animation and it has been assessed as negative aspect. Animation is a cultural and spiritual product of a country. Therefore, the systematic support policy for the facilitation of the creative animation, such as, development of professional human resources, creation of outstanding work, formation of market to make the pre-circulation structure and so forth has to be sought. However, animation is an industry, but there is no perception that it is a cultural industry based on the creativeness, not hardware-oriented manufacturing business. Such a lack of recognition, there was no policies to make the market and facilitate the creative animation by the animation of Korea for this period through the long-term plan and investment for independent work production. Such an attempt is newly begun through diverse searches for protection and advancement of creative animation in Korea after 1990s.

• Journal of the Korean Geographical Society
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• v.28 no.4
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• pp.285-297
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• 1993

For the application of the diffusion equation, slope height and maximum slope angle are calculated from the plotted slope profile. Using denudation rate as a solution for the diffusion equation, an apparent age index can be calculated, which is the total amount of denudation through total time. Plots of slope angle versus slope height and apparent age index versus slope height are useful for determining relative or absolute ages and denudation rates. Mathematical simulation plots of slope angle versus slope height can generate equal denudation-rate lines for a given age. Mathematical simulations of slope angle versus age for a given slope height, for equal denudation-rate at a particular profile site, and for comparing to other sites having controlled ages.

• Journal of the Korean association of regional geographers
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• v.6 no.2
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• pp.83-96
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• 2000

Erosional basins formed in middle and upper reaches of Korean great rivers have been main life space of local small and middle cities, but previous studies on erosional basins are widely apart from residents' life and are in shortage with the endeavor to elucidate the man and environment relationship. This paper analyzes the factors and the modes of land-use changes of hills in the erosional basin. In this paper four erosional basins with different geological conditions are selected to elucidate the effect of geological factor(Geochang: granite, Chogye: metamorphic rock, Angye: gravelly sedimentary rock, Maseong: limestone). And the distribution of land use on the transverse and longitudinal cross-section map of the hill is described. The landscape of erosional basin is consisted of surrounding mountains, hills, dissected valleys, and incoming river's floodplain. Dissected valleys and incoming river's floodplain were reclaimed early as paddy field and hills have been used as woodland up to recently. Residents have a new appreciation of hills as a productive hill out of a traditional holy space[mountain] by influence of capitalistic thought that 'natural environment is a sort of productive resource'. Population increase is the another pressure of hill reclamation. The modes of landscape changes due to natural conditions are as follow: (1) In Geochang basin with dense tectolineament spacing, the gentle part of hill is used as field, orchard and agricultural-industrial complex site and the steep part is as woodland. (2) Hills in Angye basin with sparse tectolineament spacing are relatively flat because of maintaining a part of original denudational surface, and are used as orchids, field, paddy fields and agricultural-industrial complex site. The dissection valleys between hills are gentle concave and are used as paddy fields. (3) Hills in Maseong basin are wide and flat, and are used as fields, orchards, and agricultural-industrial complex site. (4) Because hills in Chogye basin, a closed type, are weared by affluents and are narrow and short. Hills are used as woodland and wide dissected valleys are reclaimed as paddy fields.

• The Korean Journal of Archival Studies
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• no.24
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• pp.215-274
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• 2010

Iron-making industries of the country, regardless of age has been the focus. This makes the iron production technology and production techniques that result in increased economic activity and because of the central charge. Therefore, the social development of ancient iron-making technology is based on phase-sensitive. Modern steel making up the monopoly of the country's target under the strict control of production, distribution was. It is essential to produce iron weapons was a threat is because you can keep the throne in the hands of the forces that can cause side effects when I went was to block. This study created a rail Cholbi(iron monument) and the regional distribution pattern of the production, construction background, looked on. Cholbi(iron monument) for the production and recording "the Annals of the Joseon Dynasty" often appear in history books and many academic interests, but was off target. Compared to a stone monument that was not generally as well as the Japanese colonial period and over the course of modernization destroyed, damaged a lot of cases the cause may be found in front. Cholbi(iron monument), except for the gravestones of the Joseon Dynasty monument erected in honor of virtue, as an example of content that dominated a packman business, founding of the school and confirmed that a few were built as a special purpose. Cholbi(iron monument) compared to the production technology or the cost of the monument's difficulty in financing follows. Therefore Cholbi(iron monument) the establishment of the Joseon Dynasty through the background of the economic situation and the local government can look. And iron technology began complaining about the object of history, economic conditions, with the change of season has been a change in people's consciousness tells you. Important data of ancient history as an epigraph that has been as important, the Middle Ages to modern times ranging from newly born to the time Cholbi(iron monument) in the development of the country's documentary subject to change should have been brought. Based on these discussions changes the identity of the hero monument and production inspector, review of production through the Joseon Dynasty period Cholbi (iron monument) contemplated the significance is reflected in production.

• Journal of Popular Narrative
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• v.27 no.2
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• pp.143-177
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• 2021

In the history of Korean literature, evaluations on 『Jirisan』 (Lee Byeong-ju) are bisected. Some evaluate it as a novel of authentic records which reproduces the history before and after the emancipation objectively while others say it takes advantage of anti-communistic ideology. This study analyzes that difference is resulted not from the distinction of perspectives but from cracks in the text. This is associated with the process of 『Jirisan』's publication. 『Jirisan』 was published serially in 『Sedae』 from 1972, and then, part of the manuscript was published in 1978 and the whole edition published in a series came to be republished in 1981. After that, in 1981 and 1985, part of the follow-up story was printed on the magazine, and then, with the memoirs of those two years as materials, the sixth and seventh volumes were again published through 'revision'. In other words, the publication of 『Jirisan』 is divided into that of the edition published in a series and that of the edition published in 1985 including the contents of revision. The theme of the work, 『Jirisan』 differs according to the point of its completion you may think of. This researcher pays attention to the difference of perspectives between the contents up to the fifth volume and those of the sixth and seventh volumes. Particularly, his evaluation on 'partisans' seems to have changed. In the edition published in a series, he extended 'partisans' into the independence movement in the Japanese colonial era under the Revitalizing Reforms system and adopted the representation of 'partisans' three-dimensionally whereas in the sixth and seventh volumes, he reproduced 'partisans' as beings that were the 'doctrinaire' and 'vicious' 'Reds' and had to be punished. In brief, with 『Jirisan』, he represented 'partisans' in the background of history before and after the emancipation and segmented the discourse, representation and ideology of the Cold War system, but in the process of revision, he stitched up 'partisans' as beings that were evil and losers. Consequently, with 『Jirisan』, he revealed the process of division and contention that proceeded around anti-communism/capitalism within the abyss of the 1970's to 80's and reproduced 'partisans' as beings that were either 'hostile (the Reds)' or 'unknown (losers)