• Journal of Digital Contents Society
• /
• v.16 no.2
• /
• pp.227-234
• /
• 2015

Recently, there is more and more demand on broadcasting display environment that provides a sense of realism basically with high quality and high definition as in UHDTV, so various kinds of 4K cameras have been released. Super 35mm sensor 4K/UHD cameras being generally used can be usefully applied to the single camera-based system such as advertisements, dramas, nature documentaries, and culture programs. However, in the multicamera-based system such as entertaining programs, sports, and concerts, relay broadcasting may face limitations as there are restrictions of close-up or tight shots according to the distance. Besides, 4K lenses are not enough compared with the previous HD lenses' group, so there are limitations in camera photographing shots that have been realized in HD filming. Therefore, to complement this, the use of 2/3 inch sensor 4K/UHD cameras is being demanded, and it is also needed to use various lenses' groups to produce UHD image contents. Accordingly, this study used Grass Valley's LDX 4K/UHD camera to analyze its applicability based on the picture quality test at the use of HD lenses in 2/3 sensors and also the possibility of its efficient application.

• Journal of The Korean Association For Science Education
• /
• v.32 no.10
• /
• pp.1580-1598
• /
• 2012

The Study aimed to observe Science Experience's Type in parent school out of school institution and Meaning of Middle School- Science Gifted Students in Korea. Twelve middle school gifted education institution and science high school students participated in this study. Data source was retrospective and in-depth interviews with individuals. Results were as follows. First, science experience with parents influenced interest and inquiring mind in science, choice of career in field of science. Second, science experience in school curriculum recognized that gifted students have talents of themselves in science and changed in Attitude toward science from science teacher. Third, science experience with education institution for out of school curriculum changed interest in science from Experiment for identified scientific knowledge and obtained new product through creative inquiry process. Furthermore, It was gained self-confidence, feel a sense of accomplishment and a challenging, the spirit of team work including of taking lead the team.

• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.393-425
• /
• 2019

This paper focuses on Alain Resnais's representative works (1955), (1959), and (1963), and analyzes how he implements a representation of memory though cinematic apparatus. These three films deal with horrific memories that seem impossible to reproduce aesthetically such as the Holocaust, the Hiroshima Atomic Bomb, World War II, and the war in Algeria. The reappearance of events that stripped humans of even their minimum dignity can naturally be associated with ethical issues. These events can never be reproduced because they cannot be explained in the human language. It is also impossible to reproduce in a way that doesn't invade other peoples' sufferings, nor displays the pain of others as spectacles. Alain Resnais was a director who realized that if factual representation was not possible from the beginning, truthfulness would have to be approached through cinematic form. Therefore, he tries to overcome these problems through cinematic forms. First, he shifts to action films to avoid the obscenity of documentary. shows the records of camps captured by German forces in the past, while shows the pain of others in a fictional form of representation. Next, he describes how the trauma affects the identity of the main character through a flashback in , but also shows a main character who is experiencing trauma without a flashback in Flashbacks have the effect of showing the effects of trauma on the main character, but at the same time they involve the obscenity of enjoying the suffering of others. Nonetheless, the absence of flashbacks highlights the impossibility of representation. This is because it is not silent in the impossibility of representation but is constantly approaching. The attitude that repeatedly circles around impossibility is an ethical form that maximizes the impossibility of representation. In conclusion, this is the ethics of representation that Alain Resnais showed in his films.