• Proceedings of the Korea Water Resources Association Conference
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• 2007.05a
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• pp.911-915
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• 2007

영상측정기법을 적용하여 경제적이고 효율적인 유속 측정 방법에 대하여 많은 연구들이 진행되어 왔다. 현재 이동식 LSPIV 시스템은 실험실의 수리모형실험과 현장의 국부적인 유속측정에 효율적으로 이용되고 있지만, 고정식 LSPIV 시스템의 적용에는 많은 문제점들이 있어서 현장 적용이 미루어져왔다. 고정식 LSPIV 시스템은 수문분석에 많이 의존하고 있는 현재의 홍수량 산정에 좀 더 정확한 유속과 수위를 동시에 고려할 수 있는 하천유량측정 시스템이다. 이는 과거 하천유량측정 시 많은 비용과 인력 그리고 위험성들을 대폭 줄일 수 있는 현장 모니터링 시스템의 구축을 가능하게 해줄 수 있다. 본 연구에서는 LSPIV (Large Scale Particle Image Velocimetry) 시스템을 탄천(대곡교)에 설치하여 연속적으로 유량 측정을 하였다. 탄천(대곡교)에 적용된 고정식 LSPIV 시스템은 유속측정을 위한 디지털 카메라 2대와 컴퓨터 그리고 수위 측정을 위한 DCU1104 초음파 수위계로 구성된다. 위의 현장 장비들에서 들어온 실시간 영상과 수위자료는 CDMA 무선통신을 이용하여 서버컴퓨터로 들어와서 인터넷에서 손쉽게 받아 볼 수 있다. 이와 같이 실시간으로 들어온 입력 자료는 LSPIV 프로그램을 이용하여 언제 어디에서나 비교적 정확한 유량을 산정할 수 있다. 또한 실시간으로 들어오는 하천 영상을 통해 실시간 현장 모니터링도 가능하게 되고 시간적으로 연속적인 영상을 얻을 수 있기 때문에 하천 유량 변화를 쉽게 알 수 있다. 따라서 과거 현장에서 어렵게 측정하여 얻을 수 있던 유속자료를 간단한 실시간 영상 분석만으로 구할 수 있으므로 앞으로 유량조사에 유용하게 활용될 수 있을 것이다. 입체 영상) 입체영상은 영화에서 시작되었으나, 20c후반기에 들어서면서 애니메이션 분야와 모바일, 광고 패널, 텔레비전등의 매체를 이용한 입체 영상의 개발로 인하여 특정 분야에 한정 시킬 수 없으므로 영상으로 칭한다. 입체 영상은 21c에 들어서면서 영상매체의 한 분야로 급부상하고 있다. 1900년 무렵부터 연구된 입체영화(3-Dimensional motion Picture)는 In여 년이 지난 지금 대중화를 눈앞에 두고 있다. 국내에서는 놀이 동산이나 박물관등에서 흔히 볼 수 있다. 하지만 앞으로는 HDW등의 대중화로 화질의 발전을 이룬 텔레비전 분야 등에서 실용화 될 전망이다. 국제적인 흐름과 함께 국내에서도 입체 영화에 대한 연구가 활성화 되어 영상산업의 한 주류로서 대두되고 있다. 이러한 상황에서 입체영상에 대한 이해와 콘텐츠(Contents)의 개발은 기술적인 진보에 발맞추어 준비되어야 한다. 본 논문은 이러한 기술적인 계보에 발맞춘 영상 콘텐츠 개발에 박차를 가하고자 앞으로의 발전분야에 대한 기술적인 면과 기법적인 면을 제시하여 기술만 앞서고 내용은 수입하는 수입국이기 보다는 미리 준비하여 비전문가나 타국의 기술에 선점 당하지 않는 분야로 성장할 수 있는 진보적인 영상 인들의 관심과 지속적인 연구를 독려하고자 한다.시민의 휴식 및 여가선용 공간으로 활용하기 위한 사업의 기초자료로 활용되며 이미 설계검토가 시작되었다. 본 연구결과는 유수지 및 저수지의 환경개선 사업의 선두적인 성공사례로 국내 타 지역의 유사한 사업에 있어 벤치마킹을 할 수 있는 훌륭한 사례가 될 것이다.요 생산이 증가하자 군신의 변별(辨別)과 사치를 이유로 강력하게 규제하여 백자의 확대와 발전에 걸림돌이 되었다. 둘째, 동

• Cartoon and Animation Studies
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• s.9
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• pp.127-142
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• 2005

Not only in Korea but throughout the entire world millions of people are in contact with images. Images have become a medium through which to transmit anything from simple visualizations of moving images to knowledge and information. The age of the internet has arisen thanks to scientific development, and the internet generation's acquisition of information is continuously becoming faster. The spectators, ufo must choose amongst the excessive amount of available information, are changing along with it just as quickly. The method of visual transmission has changed to match the demands of the fast-changing pace of the new generation. In order to receive an instantaneous selection amongst much information, the primary requisite is attracting one's attention, and then presenting a corresponding feeling of satisfaction. The early stages of film arose from the desire to capture one's actual situation as it realty is. Unsatisfied with the still picture, people developed the motion picture. Research has succeeded in reproducing 3-dimensional images more realistic than the actual image we perceive as a result of the difference in visual perspective of both eyes and their response to rays of light From color film to 3-dimensional pictures, people enjoy the magnificent results of this. All fields within the category of film are continuously studying the human desire to pursue their visual side, namely the pursuit of visual images with a maximum sense of reality. The images that millions of people around the world see now are flat. The screen's depth and optical illusions effectively give a sense of reality while conveying information. However, although the flat screen is able to create a sense of depth using the different visual perspective of each eye for the realization of a cubic effect, there are limitations. Entering the 21s1 century, there is a quickly-arising branch within the field of image media which seeks to overcome these limitations Although 3-dimensional images began in films, entering the latter half of the 20th century, due to development of 3-dimensional images using the mediums of the animation field, cellular phones, advertisement screens, television etc., without restriction is designated as 'image.'. With research having started around 1900 and continuing for over 100 years, we are now able to witness the popularization of 3-dimensional films happening before our very eyes. Within our own country, we can frequently see them at amusement parks and museums. In the future, through the popularization of HDTV etc., there is a good outlook for practical use of 3-dimensional images in televisions with advanced picture qualify as well as in other areas. Together with the international current, research on 3-dimensional films has been activated in Korea and is rising as a main current in the film industry. Within this context, the contents and understanding of 3-dimensional images must keep in step with the pace of technical advancements. In order to accelerate of development of film contents to keep in pace with technical developments, this dissertation presents the techniques and technical aspects of future developments, and shows the need to prepare in advance to make the field grow- and thereby avoid having a lack of experts and being conquered by other nations in the field - rather than only advancing the technical aspects and importing the contents. This dissertation aims to stimulate interest and continual research by progressive-thinking people related to the film industry. Part II looks into the definition and types of 3-dimensional motion pictures, the terminology, the fundamentals of image formation, current market fluctuations, and looks into 3-dimensional techniques which can be borrowed and introduced in 3-dimensional animations. Part III concerns 3-dimensional animated films. It analyzes 3-dimensional production techniques while using the introduction of specific animation techniques in the 2004 production Lee Sun Shin and Nelson - Naval Heroes 3-dimensional animation produced in 2004 by Clay & Puppet Stop-Motion Animation & Computer Graphic. Original Korean title: 해전영웅 이순신과 넬슨. as an example, and it also looks into how current film techniques used in animations can be applied in 3-dimensional films. Additionally, the actual stages of the various fields of 3-dimensional animations are presented. Given the current direction and advancement of 3-dimensional films making use of animations and the possible realization of this field, the author plans to weigh the development of this yet unexploited new market Not looking at the current progress of the field, but rather the direction of the hypothetical types of animation techniques, the author predicts the marketability and possibility of development of each area.

• Cartoon and Animation Studies
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• s.50
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• pp.215-237
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• 2018

I analyze orange that is consistently used, even though not consciously, in the films whose function and meaning are clear. In detail, there are examples of color in films, psychological phenomena of colors expressed in posters and opening titles, color characteristics of clothes and costumes, and semiotic analysis of color names in film titles. (1) Fact and Truth; civilization and criticism. The film tries to tell the truth than the fact. It represents facts as it is, but it presupposes truth. This is a unique characteristic of media films. The truth of the fact is not important. The film tells the truth believing and wanting to show off. The film, which has inherent characteristics of the gap between fact and truth, represents nature and civilization. It carries nature as it is and criticizes the harm of civilization. Orange is nature and civilization. Realistic films such as Hong Sang Soo and Kim Ki Duk, fall into this category. For example, there are A Taxi Driver(2017) and I Can Speak(2017). (2) Virtual History; fake images and memories. In Hollywood SF genres like The Matrix(1999), orange was dealt with virtual reality. However, in Korean films they are replaced by historical dramas. The representation of history becomes a virtual reality. Films such as The Fortress(2017), Masquerade(2012), and Roaring Currents(2014) deal with virtual history. In these films, orange is a fake image and memory. (3) Light=color; Aura. The color and light of orange is aura. At sunrise and sunset, the orange of the incandescent light is almost similar to that of the artificial light. Orange of tungsten makes the real characters surrealistic and mysterious. For example, there are The City of Madness(2016), The Man from Nowhere(2010), and Coinlocker Girl(2014). (4) Fantasy; communication with other worlds. Orange is a sweet fantasy. In our daily life, we go to a supermarket, share a chat with friends in a coffee shop, and spend time in front of a television. Orange makes our life free and dreams. It is the communication between the former being and the other world. This can be found in the sexual fantasy scenes of all genres. For example, there are Sunny(2011), Welcome To Dongmakgol(2005), and 200 Pounds Beauty(2006).

• Cartoon and Animation Studies
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• s.32
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• pp.335-361
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• 2013

This study examines the ethnoscape of TV dramas on three Korean nationwide television channels from 2005 to 2012 by breaking down how many non-Koreans appear and how they are represented. Among all TV dramas, 6.4% show non-Korean characters of which are generally supportive or small roles. These characters are categorized into four groups: adoration, sympathy, proximity, and other. The adoration group consists mostly of white males from USA or Europe that have professional careers such as medical doctors or lawyers and are positively represented with attractive appearance and nice character. On the other hand, the sympathy group is made up of Southeast, Central Asians and blacks. They are mainly represented as an underprivileged group: females and low-paid workers. In the proximity group are the Japanese and Chinese characters. The Japanese are often represented as rich people that are highly competent or are able to easily cooperate with Koreans. This result shows that Korean TV dramas provide racial and ethnic stereotypes. Though rarely, some dramas represent various lives of foreigners and racial others in Korea. This study contributes to the establishment of sound multiculturalism by analyzing representation of racial others in TV dramas and internalized stereotypes of foreigners in the diverse and multicultural Korean society.

• Cartoon and Animation Studies
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• s.45
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• pp.259-282
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• 2016

Documentaries are being recreated into a new genre and the Web Documentary is the typical case. Web Documentaries are the documentaries those comprise creators and users and they are the novel type of text that the interaction with users is absolute. In this research, two Web Documentaries and are analyzed for examining how Web utilizes its features as expressive media inducing users to experience reality. Web Documentaries have dual and spatial structure that allows user interaction and make users to face with various information and knowledge about reality by its encyclopedic characteristics. Also, Web Documentaries give the role of progressing documentary and expanding text to users and that is, they stimulate users' consciousness reminding that they are the ones who explore through reality. In this process, users of Web Documentaries get potentiality of critically examining the reality suggested by documentaries and grasping the meanings beneath it. These features make Web Documentaries special contrast to traditional documentaries not only with their way of pursuing the reality but also with their meanings. This makes the innovative position of Web Documentaries phenomenon clear, issuing the necessity of the discussion about Web Documentaries more strongly. Web Documentaries are not just new media technological phenomenon, and they have their significance as a fundamental challenge toward traditional documentaries.

• (The)Study of the Eastern Classic
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• no.43
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• pp.33-64
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• 2011

The historical drama played on TV in 2003, Daejanggeum is originally based on the short historical record of lady doctor of the palace from the [Jungjong record] of Josun. The drama mixed fiction and historic record well together draw enormous interest and became a novel, musical and animation for children. Also the location of shooting drama became a theme park to attract travelers and the name 'Daejanggeum' was used for products to create great additional value. Most of all, the drama then was exported to overseas and became the representing drama of Korea. Therefore, drama is the representing piece that proved the success of historic data with its application as various modern cultural contents. The analysis of success reason of showed the creation of new modern woman character, fresh selection of the item that suits well in the time of desiring wellbeing, the strong drama scenario with different story development compared to previous historic drama. Also, it used 'one source multi use' method prior to the broadcasting and prepared production of various cultural contents. This success of Daejanggeum means a lot from the point of 'modern acceptance of tradition' to tradition researchers.

• Cartoon and Animation Studies
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• s.49
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• pp.633-649
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• 2017

The purpose of this study is to conceptualize the changing aspects of human freedom of observation and viewing as the visual media evolves from film to 3D stereoscopic film and VR. The purpose of this study is to conceptualize the aspect of freedom and viewing aspect from the viewpoint of genealogy. In addition, I will identify the media aesthetic characteristics of VR and identify the identity and ontology of VR. Media has evolved around the most artificial sense of human being. There is a third visual space called screen at the center of all the reproduction devices centering on visual media such as painting, film, television, and computer. In particular, movies, television, and video screens, which are media that reproduce moving images, pursue perfect fantasy and visual satisfaction while controlling the movement of the audience. A mobilized virtual gaze was secured on the assumption of the floating nature of the so-called viewers. The audience sees a cinematic illusion with a view while seated in a fixed seat in a floating posture. They accept passive, passive, and passively without a doubt the fantasy world beyond the screen. But with the advent of digital paradigm, the evolution of visual media creates a big change in the tradition of reproduction media. 3D stereoscopic film predicted the extinction of the fourth wall, the fourth wall. The audience is no longer sitting in a fixed seat and only staring at the front. The Z-axis appearance of the 3D stereoscopic image reorganizes the space of the story. The viewer's gaze also extends from 'front' to 'top, bottom, left, right' and even 'front and back'. It also transforms the passive audience into an active, interactive, and experiential subject by placing viewers between images. Going one step further, the visual media, which entered the VR era, give freedom to the body of the captive audience. VR secures the possibility of movement of visitors and simultaneously coexists with virtual space and physical space. Therefore, the audience of the VR contents acquires an integrated identity on the premise of participation and movement. It is not a so-called representation but a perfection of the aesthetic system by reconstructing the space of fantasy while inheriting the simulation tradition of the screen.

• (The) Research of the performance art and culture
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• no.43
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• pp.293-322
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• 2021

The present study examined the scientific awareness appearing in Korean tokusatsu series by focusing on Vectorman: Warriors of the Earth. As a work representing Korean tokusatsu series, Vectorman: Warriors of the Earth achieved the greatest success among tokusatsu series. This work was released thanks to the continued popularity of Japanese tokusatsu since the mid-1980s and the trend of robot animations. Due to the chronic problems regarding Korean children's programs-the oversupply of imported programs and repeated reruns-the need for domestically produced children's programs has continued to come to the fore. However, as the popularity of Korean animation waned beginning in the mid-1990s, inevitably the burden fr producing animation increased. As a result, Vectorman: Warriors of the Earth was produced as a tokusatsu rather than an animation, and because this was a time when an environment for using special effects technology was being fostered in broadcasting stations, computer visual effects were actively used for the series. The response to the new domestically produced tokusatsu series Vectorman: Warriors of the Earth was explosive. The Vectorman series explained the abilities of cosmic beings by using specific scientific terms such as DNA synthesis, brain cell transformation, and special psychological control device instead of ambiguous words like the scientific technology of space. Although the series is unable to describe in detail about the process and cause, the way it defines technology using concrete terms rather than science fiction shows how scientific imagination is manifesting in specific forms in Korean society. Furthermore, the equal relationship between Vectorman and the aliens shows how the science of space, explained with the scientific terms of earth, is an expression of confidence regarding the advancement of Korean scientific technology which represents earth. However, the female characters fail to gain entry into the domain of science and are portrayed as unscientific beings, revealing limitations in terms of scientific awareness.

• Cartoon and Animation Studies
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• s.42
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• pp.293-313
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• 2016

The target stimulating human's sensitivity can include several things; the first is human like us including beautiful women and cute babies. The next ranking is the dog animal that established itself as a human's companion. It is the 3B law(beauty, baby, beast - much used in the ad or election due to the positive image) that is widely used in the advertising. This relationship is being expressed in the art history for a long time. Dogs that have lived a history more than 10 thousand years with humans hunted, protected flock of sheep, and kept the farmer's house and property. They have been human's assistants and companion who entered into the modern urban culture. Like this, dogs have adapted to several situations endlessly such as the nomadic life, farming, country life, and urban life. This paper will explore the close relationship of humans and companion animals through various icons of dogs and pups that appeared through a number of artists' skills. The companion animal means an animal that lives with people, which means the relationship of round-trip rather than the one-way relation those each other gives a help. Therefore, there artist tries to examine the figure of great hunter for survival, highly evaluated figure as the royal dignity, and the mascot-like figure delivering the daily happiness to modern people as presenting joy through a discussion of the 'countenance', a visual signal of the dogs and pups. They have been influenced by screen and popular media in 20C. Snoopy, a main character of and the movie <101 Dalmatians> made a success on the theater and television when Beagle and Dalmatian were prevalent. These main characters make audience feel happy involuntarily. Like this, the continuous and old friendship of the human and dogs will be confirmed again through the icon of dogs and pups consisting of the communication of artists and readers in the modern shape art, and it is hoped to be a psychological stabilizing effect to modern people living in the intense modern society. Therefore, it is expected this study paper will be reborn as a new text and be expanded as an effective communication in the journey of dogs and human in the future in investigating the communion of dogs and human.