• The Journal of the Korea Contents Association
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• v.22 no.6
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• pp.194-207
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• 2022

Amid growing social interest in child abuse, and announced the seriousness of child abuse crimes and aroused public interest in related issues. Based on true stories and characters, both films created unique narratives about child abuse cases, but drew on the traditional representation and discursive construction of child abuse news articles. By setting the stepmother as the perpetrator and the father as the neglecter, the gender role of women as primary caregiver was reconfirmed and the stereotypical image of the 'evil stepmother' in popular narratives was exploited. The cinematic reenactment of the evil stepmother not only highlighted the normative family discourse, but also reinforced the maternal myth by emphasizing the binary opposition between the evil stepmother and the lost birth mother.

• Cartoon and Animation Studies
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• s.32
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• pp.1-21
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• 2013

Silhouette Animation has been recognized as a genre of animation since the very beginning of the animation history, and also Its segmental movement and Aesthetic expression has led a variety of semantic interpretations. Especially the French animation director, Michel Ocelot, recently integrated 3-dimensional digital to the silhouettes animation, and it extended the possibility of the silhouettes animation in many aspects. In his latest animation feature, , he showed how he made changes in 3-dimension by creating and evolving his own way and style of silhouette animation. Although mainstream digital animations preferably to show realistic images and motion, Michel Ocelot used very selective movement, subjective digital colors and extended space which couldn't be expressed in the way of creating traditional style of silhouette animation. This alternative slow movement and the unique aesthetics in 3-dimension emphasize the unconscious elements of color, composition, patterns, and it provides digitally enhanced images and pictorial impression. In addition, the acquisition of digital three-dimensional use of space made possible to provides the wider formative imagination to the audience. In this paper, we analyzed aesthetic characteristics of the digital silhouette animation, (2011), specially focusing on the aspects of Movement, Image, Space, which could not be found in the traditional silhouette animation. It is significant to obtain diversity of the future digital animation and its positive development. In addition, this provides opportunity to explore Michel Ocelot's new experiments and animation philosophy.

• Journal of Digital Convergence
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• v.13 no.5
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• pp.177-185
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• 2015

The gender difference in social roles affects digital devices' utilization differences in man and woman even in the 21st Century. Prior studies analyze the digital divide (genders, ages, etc.) from the assessment perspectives of digital equipment, such as PCs. In the area of high speed internet, most functions of PCs have been replaced with smartphones, and around 80% of the mobile phone users adopt smartphones. Subsequently the inequality of physical access to the digital devices is no longer a criterion for digital divide. The focus on digital divide should be shifted from the physical access to other factors, such as socio-technical or socio-cultural ones. This paper examines utilization of women's digital equipment, in particular, preparing for tourism activities, which is popular but sensitive to the technology. A survey was conducted with participants of [Suncheon Garden Expo] 2013. The results of this study capture the inactive use of digital devices particularly women over 50s. This phenomenon (high utilization of the digital devices for social or informative purposes, but low utilization of the digital payment) implies other aspects of Korean women (economic independence, low self-assertion, technical difficulties, etc.), which is considered from the socio-technological convergence perspective. This study also has a practical implication on the side of the digital device developers as well as marketing, where the qualitative communication is likely to be incorporated for the women over 50s.

• The Journal of the Convergence on Culture Technology
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• v.8 no.2
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• pp.243-249
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• 2022

Fairy tales are rooted in folk tales and contain human unconsciousness and universal emotions. It also plays a role as original content in various narrative transformation works. Andersen's brings numerous signification through symbolic signs of red shoes, dance, and ankle amputation. Victor W.Turner's theory of social drama broadens the perspective of narrative analysis. In addition, this theory makes us realize the conditions of the social community required by society at the time. As a circular content, Andersen's shows the double entry narrative of growth as a woman and incorporation into the social community. In this process, the social conditions accepted and rejected are symbolically revealed. In Koo Byung-mo's novel , achromatic color and red color are contrasted. The red world is full of vitality and represents the meaning of human existence. Yoon Mi-kyung's fairy tale is divided into different characters from the girl's growth narrative and the outsider's entry into the women's society. This work accuses preconceived notions and prejudices against multicultural families and strangers.

• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.33-43
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• 2021

The purpose of this study is to examine the transformation and characteristics of the Verse-Chorus form. The musical form of a musical song is a structural mechanism for expression to effectively convey the dramatic situation of the characters to the audience. This study identified four types of representative forms that can be used to explore the transformation with the verse-chorus form and examined their characteristics. First is the Verse-Chorus form which repeats the description of simple situations and characters in the early stage of the musical. Second is the Verse-Bridge-Verse form which is used to evoke the atmosphere and escape boredom through a slight transformation of the bridge while explaining a simple character. Third is the Verse-Prechorus-Chorus form, which sits just before the chorus, connects the verse and the chorus, and promotes the emotional rise of the characters by smoothing the drama and the harmonic progression. Lastly, this study examined the expanded Verse-BG dialogue-Chorus form used to represent the situation in which conflicts about the complex feelings of the characters and the decisions about them coexist. As such, musical songs use various types of verse-chorus forms. Through the formality and transformation of the verse-chorus, the logic of the music and the logic of the drama are balanced so that the development of the music and the drama does not enter the state of imbalance. Based on this study, further progressive research can take place on the correlation between musical form and dramatic structure, beyond the transformation of musical song form.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.49-62
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• 2020

Musicals are plays in which songs and dances are closely aligned with the plot development of the play, and songs and dances develop specific situations and a series of events. In particular, songs perform a fuction of causing the significant changes and emotional ventilation and amplification in the play by specifically capturing the goals and actions the characters are aiming for. This paper focuses on the song that takes on the function of the plot deployment, defines songs that embody actions and stories on stage' as 'action songs' and highlights their role and importance. Action Song is not a clearly defined or prescribed term in Musical. However, 'Action Song' is a song about how a character's desire or motivation for action, given as a 'character song' inserted at the beginning of an integrated musical play, provides a conflict that is a central event of action. In other words, 'action song' means a song that organically combines music and narrative by conveying the action on the stage as a song with lyrics. In addition, it is a song that moves the plot forward and contains a series of events or actions that are the material of the plot. This paper is intended to summarize the concept of'Action song which is not well known to us, and to lay the foundation of the stud, learned the concept, function and efficiency by the analyses of script and music of the musical . As a result, action songs accumulate and amplify tension caused by conflicts and induce the audience to immerse in their emotions. At the same time, the action song multiplies fun and interest of the play while the audience's expectation increased for the next scene after the action song and the progression of the play with single action makes the contents of the drama to be understood clearly.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.7 no.9
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• pp.289-296
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• 2017

Anger cause heart disease and domestic violence and recently there have been an increasing number of media reports of crimes committed because of their inability to control their anger. Anger has been reported to cause massive financial losses due to heart disease and domestic violence. Therefore, since anger raises serious social problems and social costs, it is necessary to take active intervention methods to alleviate inappropriate anger coping. A variety of methods such as cognitive and emotional approach, psycho-mechanical approach, psycho-educational approach, relaxation therapy, cognitive behavior-art therapy, and stress immunization are being explored and utilized for presenting effective anger-coping intervention alternatives. In this manner, information and communication technology is likely to be used as an effective means for this, and various researches are being conducted. The purpose of this study is to develop an anger coping service technology using ICT (Information & Communication Technology) technology as an effort to improve anger coping ability. In other words, the goal is to develop a technology that delays anger and evokes the surroundings by providing location-based services to recognize anger situations and facilitate anger. This research is about the technology which intervene directly the anger situation to resolve it using location information and introduce the base technology to realize it.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.9-41
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• 2020

Park Jong-won's debut film "Guro Arirang," based on a short story of the same title by Lee Moon-yeol, is the first commercial film to deal with labor struggles from a worker's point of view in the wake of the 1987 democratic movement, and a pioneering work in terms of representing female workers the Korean cinema has traditionally turned away from. In this film Park Jong-won tried to win the sympathy of the middle class for labor movement in spite of the red scare which still stood firm in the Korean society at that time. To convey its progressive message in a form acceptable to the middle class public, the film portrays labor issues in the light of universal humanity and ethics, not in terms of class hostility or struggle. Park Jong-won calls this point of view "common sense of normal people" and emphasizes its universality and objectivity. This study critically examines the cinematic strategies to deal with labor issues in a form acceptable to the public in a conventional and commercial film and the ideological implications of the "common sense of normal people" reflected in such strategies. The first chapter of the study reveals that the film destroys the irony of the original story and reduces the complex constellation of the characters to the conflict between pure good and evil, creating a melodramatic composition in which the good falls victim to evil. The tragedies suffered by the workers in the film are of course intended to arouse the audience's strong sympathy and solidarity with them. The second chapter shows that the film's various scenes and episodes converge on the them of compassion and grief, and are mostly based on cultural and real experiences and events that caused great public sensations at that time. Especially in the last decisive scene of the movie, the memory of the June 1987 uprising is strongly recalled. So "Guro Arirang" can be seen as a patchwork of proven cases of compassion and grief. The third chapter examines the implications of the scene where the workers turn back demands for wages and put the issues of human treatment and trust to the forefront at the crucial moment of their struggle. It appeals to universal moral values and sentiments that everyone has to acknowledge and removes the political dimension from the workers' campaign. While the film tends to become a pure story of humanity marginalizing irreconcilable conflicts of class interest, the workers fall to the position of passive victims who can be deeply sympathetic on the one hand, and on the other, are idealized as leaders with noble attitude keeping themselves aloof from the hard reality. As a result, the movie loses its realistic ground and weakens its narrative probability. The scenes reminiscent of the 1987 uprising which evoke the solidarity between working and middle class fail to integrate harmoniously into the whole story of the film and remain only as fragmentary parts of the patchwork of compassion and grief.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.87-96
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• 2012

This study aimed at empirically identifying how the cultural phenomena of localisation and attachment are implemented through Mohyeonjeong and Supodae at Gajo-myeon, Geochang-gun, Gyeongnam. 'Daehakdong', the name of the place where the Mohyeon-jeong and Supodae is located, has a meaning of the place where Geong-Pil Kim(金宏弼) the Hanhwondang(寒暄堂), one of the 5 eastern sages, and Yeo-Chang Jeong(鄭汝昌) the Ildu tought Neo-Confucianism. In addition, in case of Mt. Odo(1,134m) embracing the garden, the meaning of Odo is the five virtues in Confucianism, so we can see that Confucianism was strong in that area. The meaning of 'Mohyeon(慕賢)', "missing and thinking of sages", reflects the emotion of attachment to the place where people pay a tribute to the memory of Seon-Saeng Yang the Hwondu, one of the 5 eastern sages and the creator of Neo-Confucianism in Kyeongnam, and Suk-Ryang Choi(崔淑梁) the ancestors Pyeongchon. In addition, Odojae(吾道齋), Kijeok monument to pay a tribute to the memory of Pyeongchon, the persimmon tree symbolizing Hanhwondang, and Jidongam(志同巖) standing in front of Mohyeon pavillion represent the united wills of the above 3 people to show their Dohak(道學) spirit by practicing it, and also a reiterated expression of attachment to the place. 'Hwonduyangseonsaeng janggujiso' and 'Pyeongchonchoigong ganghakjiso(坪村崔公講學地所)' engraved on the rock of Myeongso Supodae where they gave a lecture of Neo-Confucianism to local Confucianists for many years and enjoyed nature make us to identify the intrinsic meaning of the location that was inherited in the memory of people. Along with this, most of the content of poetry, restoration records, and Sangryang articles are filled with the content reminding of the historical meaning and origin of Mohyeon-jeong and Supodae, so we can see from this that the place had the spatial meaning of Jangsujiso(藏修之所), 'the place of lecturing and communicating' and respecting ancient sages. This spatial tradition is the result of positive attachment to the place, and Mohyeon-jeong and Supodae is the place where the attachment to the place was made spontaneously througth the localisation. To sum it up, Mohyeon-jeong and Supodae was the place of attachment where one paid a tribute to the memory of ancient sages, and Mohyeonjeong and Supodae rocks were the representative examples of the localisation to show the meaning of the place by implication. Studying the process of attachment and localisation of the place does not only enable us to infer the genuine form of the traditional memorial space and park, but also to reproduce the place with the modern concept.

• Journal of Bio-Environment Control
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• v.32 no.1
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• pp.64-71
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• 2023

Crassulacean acid metabolism (CAM) plants use surplus CO₂ generated by cooling and heating at night when ventilation is not needed in a greenhouse. Schlumbergera truncata 'Pink Dew' is a multi-flowering cactus that needs more phylloclades for high-quality production. This study examined photosynthetic characteristics by the phylloclade levels of S. truncata in a growth chamber and a greenhouse for use of night CO₂ enrichment. The CO₂ uptake rate of the S. truncata's top phylloclade in a growth chamber exhibited a C₃ pattern, and the second phylloclade exhibited a C₃-CAM pattern. The CO₂ uptake rate of the top phylloclade in a greenhouse showed a negative value both day and night, but those of the second phylloclade exhibited a CAM pattern. The stomatal conductance and water-use efficiency (WUE) of S. truncata at both the top and second phylloclades were higher in a growth chamber than in a greenhouse. The WUE of S. truncata in a growth chamber and a greenhouse was higher at the second phylloclade, which is a CAM pattern compared with those of the top phylloclade. The daily total net CO₂ uptake of S. truncata was higher in a growth chamber than in a greenhouse. The daily total net CO₂ uptake of S. truncata at the second phylloclade had the highest value of 155 mmol·m^-2·d^-1 in a growth chamber. The night total CO₂ uptake of S. truncate at the second phylloclade was 3-fold higher in a growth chamber than in a greenhouse. S. truncata's second phylloclade exhibited a CAM pattern that uptake CO₂ at night, and the second phylloclade, was more mature than the top phylloclade. A multi-flowering cactus S. truncata 'Pink Dew' efficiently uptake night surplus CO₂ in the proper environmental condition with matured phylloclade.