• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.130-138
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• 2015

Korean movies with a great variety of styles have recently succeeded in drawing people's attention Rule number one is "the more entertainment, the more audiences". On the top of box offices are always the movies that have a number of spectacular scenes, pounding sounds and big budget characters. Hong Sang Su movies, however, receive attention from the public without above noted descriptions. One of his effective methods of expression is "realism" He has illustrated the trivial episodes with his own wits and ways. Not only has his style become famous and popular but he has many followers. He enjoys using ordinary emotion and sentiment that are likely to happen to everyone. This paper uses two tools. One is the traditional analysis of realism. The other is how he can approach the public meaningfully by listing common elements he frequently uses in his movies. Nevertheless, we can't fully understand his realism by explaining how he shows our everyday life and how much his movie looks like it. Though admitting there are so many preceding papers on his works but this paper will try to look deep into his realism through the analysis of Mise-en-Sc$\grave{e}$ne.

• Journal of Korean Philosophical Society
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• v.117
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• pp.249-273
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• 2011

In this paper, I suggest a discourse on some delicate relations between the philosophy and the cinema, or between the visualizing philosophical reflection and the contemplating cinematic imagination. In this context, G. Deleuze is not a simple philosopher and Director Hong, not a director. Each is a kind of metonymy. Deleuzean style of philosophizing asks for Hong's nomadic style of producing cinema. and of course in the same manner, the latter asks for the former. The latter visualizes the speculative empiricism of the former, the former crystalizes the visual esthetics of the latter. To speak with Deleuzean vocabularies, it is not possible for the State Apparatus to capture the diverse works of director Hong. Because each of them is a kind of War Machine which always slips from every tackle of State Apparatus. Deleuzean key word 'genetic becomming' is a main concept of Hong's works. The point is not to dispose the theses 'becomming' of his works in the line of series but to release them in the line of rupture. My paper would show the sharp ridicules director Hong had poured on the conservative circle of the cinema in the context of Deleuzean nomadology.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.165-172
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• 2019

Signs of the street and scenes of the nature(tree) popping up like a still screen in a monotonously repeated routine, as if waiting for something by chance, characters appearing and disappearing without special meaning, advise you to get away from cliché meetings and breakups while repeating it. The images of people returning to their places without presenting any conclusions highlights the coincidences and unexpectedness of everyday life, but are so familiar that it is easy to be overlooked, it brings us to experience the potential of everyday unfamiliarity in such moments. The actor's performance, which deviates from the practice of well-organized characters, is improvised (unplanned and uncoordinated) emphasized on the scene and expresses the everyday nature of his differentiated character freely like the reality as if he were locked up in a film structure but not confined to it, and as if he got used to the everyday life. Also the repeated words and actions of characters, and unpredictable changes of emotions, centered by the encounters and conversations of this film of Hong Sang-soo, everything that is presented in the background of everyday life in its form, let's us pay attention to the meaning and what to be found in the film. In addition, director Hong Sang-soo, who creates a story after selecting actors to reproduce this daily process in a realistic manner, sets new relationships between the characters and the actors, presenting a new method of realistic expression, through the actor who repeatedly appears in the film. This study analyzes the everyday characters and acting of the film based on director Hong Sang-soo's directing style.

• Proceedings of the Optical Society of Korea Conference
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• 2001.08a
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• pp.252-253
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• 2001

No Abstract.See Full-text

• The Optical Journal
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• s.105
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• pp.24-26
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• 2006

현재까지 펨토초 레이저 공정 기술은 아직 도입기이며 이제 막 전자부품 제조업에 적용하고자 하는 시도가 일고 있다. 펨토초 레이저는 전자부품 제조공정 일선에 산적한 기술적 숙제들을 해결할 수 있는 많은 잠재적 장점들을 가지고 있다고 판단된다. 그러나 아직까지 양산성을 갖출 수 있는 실용화 연구가 미흡하여 본격적인 기술 개화기에 접어들지 못하고 있다. 대학 및 연구소를 중심으로 진행되고 있던 펨토초 레이저 기술을 삼성전기를 필두로 하여 실용화시키는 연구를 활발히 진행한다면 보다 큰 기술시장에서 펨토초 레이저 기술이 주목 받을 시기가 올 것이다.

• Proceedings of the Korean Institute of Communication Sciences Conference
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• 1998.06a
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• pp.872-875
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• 1998

• Transportation Technology and Policy
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• v.12 no.5
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• pp.13-18
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• 2015

• Proceedings of the Korean Radioactive Waste Society Conference
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• 2008.05a
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• pp.29-30
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• 2008

• 한국도로학회:학술대회논문집
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• 2010.03a
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• pp.19-23
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• 2010

• Journal of the KSME
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• v.57 no.2
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• pp.37-41
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• 2017

이 글에서는 가스하이드레이트 형성원리를 이용한 신개념 해수담수화 및 수처리 응용기술을 소개하고 이에 대한 연구 동향에 대해 소개하고자 한다.