• The Journal of the Korea Contents Association
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• v.11 no.8
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• pp.134-141
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• 2011

This study attempts interpretation of the elements of transcendental fantasy appeared in animation. It is about the characteristics of the different spaces from the reality appeared in animation created out of imagination. In regard to the reason why such aspects of fantasy elements appeared in the whole work appear, it presents the three structures including divisional, fantasy and comprehensive structures and characteristics of spatial images of imagination presented in Gilbert Durand's "Les Strutures anthropologiques de l'Imaginaire", through visual nature, depth, and maldistribution. Thus, this study examines the elements in animation . Transcendental fantasy elements give abstract concepts to certain images as it specifically describes them in reality. The fantasy elements operate when it is viewed through the sensibility of the characters. This study attempts to closely approach the issues on how fantasy elements operate in animation.

• Cartoon and Animation Studies
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• s.44
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• pp.117-141
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• 2016

The various representations are receiving attention in modern society that has so many contents. Among them, the fantasy shows that you can not see in reality. But the intention of these fantasies is not giving a visual fun. The fantasy show the reality through stories that are not in reality. The fantasy that allows readers to continue to make the suspect between the real and the imagination and that suspect arises from the desire of real life. If the desire break the community, the social ideology will collapses. Conversely, if the desire is overturned by community, the social will be maintained. The goal of the fantasy which has the relationships of society is revealed through the various expressions of existence. They are divided into the subject and the other show the inner side of the main character. The subject shows the inner side of the main character by the transformation, alter ego and the other exists. The other shows the desire of the subject by the transformation, alter ego and the strangers. Disney animation studios select the target audience and the message in relation with the society. They choose the original like the fairy tale, myth and change them to satisfy the middle class. The characters of Disney animation says that messages by the expression of fantasy. The subject go through the transformation by twice. The first transformation is antisocial and the second transformation is social. The second shows a complete transformation. The other characters personified show the many kinds of the main character. The other as the alter ego of the main character represents the desire of the subject. They are described as an object of fear and exclusion. They expresses as a dark and menacing looks and hinders the complete transformation of the subject. But they were overthrown by the subject at the end of the story and it strengthen the social ideology. As a result, Disney highlights the value and the moral message of the society by using the representation of fantasy.

• Horticultural Science & Technology
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• v.29 no.2
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• pp.81-86
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• 2011

The effects of girdling on fruit quality and cold resistance of 'Kyoho' grapes were investigated. Girdling treatment was conducted on the trunk at 10 cm above ground with 1 cm width and grapes were harvested at 90 and 110 days after full bloom to compare the fruit quality. First harvesting rate in girdling treatment was higher than that in non-girdling treatment and coloration was also higher in girdled vines at the final harvest. In other words, coloring process of grape was promoted and enhanced by girdling, but this effect of coloring improvement was decreased after successive girdling treatment. Fruit quality showed no difference between the treated and non-treated berries, but fruit cracking rate was lower in girdled treated berries. Girdled trees were weakened and suffered from freezing damage. Especially, most grapevines withered up after being girdled for three consecutive years. Although girdling had effect on improving the berry coloring significantly, the effect wore off with continuous girdling. And it was possible that consecutive girdling leaded to wither and growth suppression especially in grapevines. These adverse effects may make the continuous girdling technique unsuitable in practice for 'Kyoho' grape.

• Journal of Korean Society of Forest Science
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• v.100 no.3
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• pp.367-373
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• 2011

The demand for Japanese larch (Larix kaempferi) seeds has increased in Korea but their supply has been limited due to sporadic natural seed production. To enhance seed production, stem girdling was applied to 42-yearold Japanese larches, resulting in remarkable enhancement of strobilus production in terms of the rate of strobilusbearing tree and the number of strobilus per tree. Metabolic alterations in the girdled and the control trees were interrogated through GC/MS analysis. In the girdled tree, the contents of 14 individual metabolites including polar and non-polar compounds were significantly increased compared to the control. In the cambium and phloem tissues of girdled trees, the contents of pimaric acid, phosphoric acid, sucrose, and two different unknown compounds were enhanced, while the levels of malic acid, inositol, two different disaccharide, 11-trans-Octadecenoic acid and 4 different unknown compounds were decreased compared to the control. The girdled trees showed to be contained significantly higher amount of total nitrogen in the cambium and phloem tissues than that of control trees. Although the role of individual metabolites on enhanced strobilus production remains unclear, the approach presented in this study might provide useful information in elucidating metabolic network modulation induced by girdling and will be further applied for enhanced strobilus production in Japanese larch trees.

• Korean Association for Visual Culture
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• v.17
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• pp.65-92
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• 2011

This thesis investigates the complex functions of the magic lantern in illusionism and enlightment which was the most popular visual media and the direct ancestor of cinema. Especially, the thesis focuses on the characteristics of magic lantern's images which had been varied with the scientific and technological development. During the early period of the magic lantern, from the late 18th century to the beginning of the 19th century, it frightened viewers by showing magic images with ghosts and spectres, 'phantasmagoria', and wondered with images of natural catastropes and interesting stories like fables and fairy tales, which fulfilled the entertainment function. Since the mid 19th century the magic lantern began to show not only pictures of the 'scientific themes' on the earth, nature and human, but also them of the ethnological on the far, exotic worlds like Africa, Amazon and Syberia etc. from the European perspective. These contents conducted the educative function and contributed to the process of Enlightment to the peoples in the pre-modern age. The two functions of the magic lantern such as entertainment and education had been neither historically followed, nor clearly divided, but the one was predominant according to the development of lantern techniques as well as the changes of the world view and the culture of the time. The entertainment function of the magic lantern based on the visual fantacy did exist in the late 19th century further, and also in the late industrial society, even in the age of highly developed science and technology, viewers want rather 're-enchantment' by illusionism than facts and truths on the reality. This is an essential characteristic of the moving image media, as it had already been presented in the images of the magic lantern.

• Cartoon and Animation Studies
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• s.27
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• pp.31-49
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• 2012

This research aims at showing specificity of the 'fantastic' in the movie < Les temps morts (on 1964) > directed by Ren$\acute{e}$ Laloux (1929-2004 ), all over the world recognized director. This movie has a particular style by composing four forms of expression: the real recording (movie), the recording embellishes with images by image (animation), the drawing, the photo. This film is the most strange among his all films. Even if we could catch the key meaning of the film, it offer for the audience the sentiment incertain and unclear. If we consider 'the fantastic' as a hesitation between the real and the unreal, in diverse levels, this movie offers to the spectators the fantastic feelings. In order to present the way this film shows us the fantastic, we divide the film into 15 sequences according to the criteria of the visual elements and the auditive elements. We analyze specificities of this fantastic in diverse levels. At first, the first style of the drawing of Roland Topor, does not let us escape easily from the feeling of fantasy. The four representation formats(drawing, photo, animation, movie) are integrated into one whole by auditive elements(music, narration). On the other hand, certain parts incomprehensible are not integrated into the entire. are fully integrated into the unity that does not understand that part, leaving them can. Laloux leads the audience into a reality toward the end of the film, but he leave incertain sequences at the last moment. Through which the audience is again hesitant between the real and the unreal, the fantastic is strengthened as a result of the work. Finally, the fantastic of the film could be found at three levels. First, the fantastic drawing style of Roland Topor. In the second place, the fantastic exposed through the entire composition and structure of work. Overall, these by leaving through the availability of the story incomprehensible to the audience is to provide a fantastic sentiment.

• Proceedings of the Korea Fashion and Costume Design Association Conference
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• 2004.06a
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• pp.49-52
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• 2004

20세기초의 패션지에는 폴 푸아레(Paul Poiret, 1880-1944)가 머릿속의 디자인을 조르주 르파프(Georges Lepape)나 폴 이리브(Paul Iribe; 1883-1935)와 같은 실력있는 아티스트들에게 그리게 한 패션 플레이트가 첨부되었다. 그것은 디자이너의 환상이 아티스트의 환상으로 연동해간 결과, 이중의 꿈을 꾼 패션화로서 나타나게 되었다. 이 시대의 패션은 꿈을 실현하는 아트였다.(중략)

• Digital Contents
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• no.12 s.151
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• pp.64-70
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• 2005

디지털 테크놀로지의 발달에 따라 디지털게임은 지속적으로 그표현의 가능성을 넓혀왔다. 현실에서촬영할 수없는 많은 장면들이 디지털모핑(morphing)을 통해 영화의 환상적인 장면들을 대체하고 있는 경우만 보더라도 디지털기술은 이미지를 통해 표현할 수있는 한계를 극복하고 있는것이다. 불과 20년전만 하더라도 디지털게임은 현실세계에서 통용 되는 놀이들을 컴퓨터의 연산과 간단한 그래픽을 통해 상징적으로 재현한 수준에 머물렀지만, 최근 들어서는 소설이나 영화보다 더욱 방대한 데이터베이스를 갖춘 가상공간의 세계를 만들어 가고 있다.

• Vending industry
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• v.2 no.4 s.5
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• pp.86-87
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• 2002

자판기 사업에 있어 환상 주입식의 마케팅정책은 이제 달라져야할 시점이 되었다. 자판기 사업은 '황금 알을 낳는 거위'다 라는 등식은 이제 더 이상 주효한 시점이 아니라는 사실을 냉혹히 인정해야 한다. 이 보다는 차라리 일정 고정수입을 보장하는 괜찮은 부업 아이템으로서 자판기 사업을 보는 시각을 가져야 한다. 사업에 대한 거품과 과대포장이 아닌 현실적이고 객관 타당성 있는 사업성이 차라리 보다 큰 대중적 소구력을 갖는다.

• Proceedings of the Korean Nuclear Society Conference
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• 1997.10a
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• pp.509-515
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• 1997

환상형 이중벽 증기발생기와 환상형 전자펌프 신개념을 개발하여 중간열교환계통과 소듐 배관이 없는 단순하고 밀집된 형태의 액체금속로인 SAILMER 노형 개념을 제안하였다. 금속핵연료를 사용하는 모듈형으로 증기발생기에서의 소듐과 물 반응사고에 대비한 연구와 제작기술을 제고시키면 이 노형은 경제성과 고유안전성을 동시에 구현할 수 있다.