• 월간 기계설비
• /
• s.288
• /
• pp.75-80
• /
• 2014

나사식 가단주철제 관이음쇠는 신한메탈, 영화테크(전신 영화금속) 외 국산 8개사, 중국산 9개사 등 모두 17개사가 공급에 참여하고 있다. 그러나 심한 가격경쟁으로 짝퉁과 중국산 제품이 판치는 시장에서 100% 국내 가공으로 최고의 품질을 자랑하며 고객과 신뢰를 쌓아가기란 여간 어렵지 않다. 나사식 가단주철제 관이음쇠 분야의 명품을 꼽으라면 설비건설업계는 대부분 다이아몬드가 표시된 제품을 집는다. 다이아몬드 표시로 더 알려진 관이음쇠 생산업체인 (주)신한메탈(대표 전진화)은 작년에 영화금속의 나사식 관이음쇠 부문을 인수한 후 경쟁력을 더욱 강화한데 이어 최근에는 엘보, 티 등 스테인리스 조인트 가공시장에 본격 진출하기 위해 생산시설 도입에 박차를 가하고 있다.

• Journal of Digital Convergence
• /
• v.12 no.9
• /
• pp.343-351
• /
• 2014

This study poses questions on the role of a movie sequences partially deployed in the comic strips style in the movie. Though both the movie and the comic strips's image is expressed in the flat space, it is different to the reciever's manner in the interpretation of the media's narrative. Comic strip has a media's characteristic of the aggressive interpretation. It can be create the objective and critic point of view for an audience as the visual style in the ideology movie. Comic strip Style has a flat frame, a form of comic strip's mise-en-scene, montage and camera working. This paper studies expression of 'La Chinoise' using 'Comic strip style' for the objective point of view.

• 주택과사람들
• /
• s.194
• /
• pp.66-67
• /
• 2006

최근 개봉한 영화<다빈치 코드>의 배경으로 또 한 번 유명세를 치른 루브르 박물관의 유리 피라미드 루브르 역사의 새로운 장을 열어주었던 이 유리 피라미드를 설계한 이는 바로 중국계 미국인 건축가 아이오 밍 페이다.

• Journal of Digital Convergence
• /
• v.19 no.5
• /
• pp.375-381
• /
• 2021

This study aimed to examine the dilemma of rural China under rapid urbanization process after economic reform, by paying attention to the problem of the order of village community and the expression of individual desires depicted in the film with a rural background. To this end, the narrative analysis, which is suitable for exploring the story structure and expression style of the text, was conducted to examine the community order and ethics, patriarchy and paternity, and the expression of desires of subject. In the film, closed space and villagers, who are disciplined by community customs, local culture, and formality of the rule of manners, are depicted. The film is covered in a form of mystery movie dealing with the deaths of members of the village community. However, the film talks about the rise of the Imaginary desire of subject against the symbolic rules of community order and ethics through the puzzle pieces story according to the perspectives of the characters. In conclusion, through the narrative analysis, it was possible to examine the implications of weakened communal discipline and paternity of the countryside by the rapid urbanization of China, and implications of the lethargy and neurosis of the subjects.

• Journal of Ethics
• /
• no.84
• /
• pp.243-274
• /
• 2012

The purpose of this study is to study the community narrative ethics of China·Taiwan film. in the context of globalization and locality. I especially wish to look this part through narrative·hermenutical approach and communitarian ethics against contemporary liberalism and individualism. In particular, this article focuses on the works of Hou Hsiao-Hsien, Zhang Yimou, Lee Ang, Tsai Ming-Liang, Chang Tso-chi and Chen Kaige. China and Taiwan's main directors show family and country's community narratives through the self understanding and identification that we call narrative conception of the self. The idea of local community and identity is related with inheritances, history and tradition from the past of my family, my city, my tribe, my nation. Main directors make and have the story of those communities which I derive my identity. And community narratives from the life histories that define us form local community's solidarity should have the openness to other communities. Community narratives shouldn't be separated from the aspect of globalization and locality. After all, I examined whether the local community narratives reveals meaningfully from the standpoint of globalization and locality through China·Taiwan film.

• Proceedings of the Korea Contents Association Conference
• /
• 2019.05a
• /
• pp.337-338
• /
• 2019

중국 저예산 영화는 다년간의 탐색하에 영화예술창작에서나 시장에서의 상업성적인 측면에서 비교적 좋은 발전을 가져왔다. 예술창작 측면에서 말하면 최초의 '개인 서사'부터 상업유형 영화의 축제로 또 서사 방식의 다원화까지 이미 점점 성숙에 나아가고 독특한 풍격을 형성하였다. 상업적으로는 입소문 마케팅과 차별화를 널리 보급하는 것이 저예산 영화에 새로운 경험과 결실을 가져다주었다. 본 연구는 영화의 예술성과 상업성 두 가지 측면에서 <나는 약신이 아니다>라는 영화에 대해 분석연구를 하고 또 성공 경험을 정리하여 신인 감독들의 작품을 위해 참고할만한 방향을 제시하고자 한다.

• Journal of Communication Design
• /
• v.62
• /
• pp.96-104
• /
• 2018

Jinling University during the Republic of China (1912-1949) is the most representative academic institution in film education and filmscience, film production, film distribution and many other aspects. Although Jinling University had not yet formed an independent animation discipline, the opening of its animation curriculum, theoretical research, and the practice and production of animation have played an important historical role in the development of Chinese animation and are the beginning of China's animation education. This study investigates Jinling University comprehensively and systematically reviews the forms of animation education. At the same time, macroscopical education and microcosmic education concepts are used to analyze the social context of the Republic of China of discipline construction and external education concept at that time. It sketches the historical clues of the development of animation education in Jinling University in the Republic of China, and lays the foundation for further studying animation education in the Republic of China in theory.

• 중국학논총
• /
• no.61
• /
• pp.301-321
• /
• 2019

This is the premise that the language's cultural understanding must preceded the process in order to facilitate the communication of foreign languages. In order to understand the contemporary social culture of Korea and China, we sued the film 'Simple Life 'to conduct Chinese cultural education. For this, we first selected the theme of the culture, which is an issue in the modern society that appears in the film. Using the ambassador in the movie 'Simple Life",questionnaires and classes based on the culture selected for the subject were sometimes divided among the students of the Korean and China, and sometimes shared opinions and discussions and communication. The result of such a class progression are as follows: understanding the context of the culture and the use of movies can help you communicate smoothly.

• Cartoon and Animation Studies
• /
• s.37
• /
• pp.25-44
• /
• 2014

In the past 5 years, Chinese film market has witnessed a great development, with the film and animation box hitting records highs. At the same time, TV contents become more and more diverse, and the widespread use of smart phones makes Internet the new popular media today. On this occasion, domestic animation production is growing year by year because of people's growing demand for animation. And the volume of introduced foreign animations is growing as well. But under the same conditions, domestic animation shows obvious lack of competiveness. Chinese traditional stories have rich contents, providing a large amount of animation material. But most animations based on theses contents cannot arouse audiences' interests. This paper mainly analyzes the development situation of traditional story-based Chinese animation whose content is single and low-aged, and then put forward a new solution for Chinese animation development, which is, adding horror elements to traditional stories. And finally, through analyzing four horror animations , this paper further discusses the implementation possibility of this idea.

• 중국학논총
• /
• no.71
• /
• pp.217-236
• /
• 2021

数十年前, 作为中国电影电视娱乐节目的标杆, 并在业界脍炙人口的'湖南影视现象'的本质, 与长久以来影响他们思想的"湖湘文化"的气质息息相关。最终成功塑造湖南卫视集团的影视媒体从业人员, 融合湖南文化中儒家思想的核心内容, 塑造了"湖南文化传统"的新的表现形式以及影视娱乐业新的里程碑。现在中国境内诸多学者也在深入研究这一特殊的文化现象, 并且文化产业是影像及图书报纸出版业的支柱, 同时也是当代中国及世界经济发展的主旋律。因此区域文化可以说是让湖南影视现象之所以称为一种现象的根源之一, 同时近代湖湘文化也是中国近代文化的重要组成部分, 并且在中外古典文化冲突碰撞,交流融合的过程中, 承接南北,融合东西, 占据了重要的一席之地。并且在针对培育了湖南影像文化兴起的营养成分及根基的地域文化的叙述过程中, 缩小它的范围和区域, 把与湖南文化的发源地长沙有关的影视产业资料及文化背景作为研究对象, 加以分析解读。