• 한국조경학회지
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• 제34권1호
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• pp.69-80
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• 2006

The purposes of this study are to analyze the meanings of urban spaces which are the background of the Korean films, and to capture the interactions of ordinary culture and urban spaces. By reading urban spaces through films, it is possible to understand the variety of experiences that are hardly captured with direct eyes, specific and vivid urban images, and various events formed by the interactions of spaces and people. The scope of the study is the urban spaces revealed in Korean films portraying cities after the 1960's as their settings, and the total of 18 films was selected with every $4{\sim}5$ films for each time stage. With the selected films, analytical meanings were developed with considering three aspects; 1) phylogenetic meaning that simply reflects social-cultural and historical background, 2) the outer strum meaning that concerns the situation of special background and film scene, and 3) metaphorical and metanymic meaning on films. According to the appearance frequency, spatial backgrounds of film scenes are mainly alleys, main streets, railroad, loft, and riverside. And then the connection between spaces and meaning clusters was grasped, and reflected meanings were derived for every spaces. And the meaning of urban space in films was analyzed based on the meaning of developments and outer stratum. The fundamental characteristics and feelings of people in media such as films are more emphasized than in real world. Urban space is not considered as a simple visible shell, but is recognized as 'a real situation' created by people. The intension of this study was to open the possibility of the various views of urban spaces. The construction of the urban space should be approached from a perspective of creating new places at where the space and human beings interact with considerations of stories of various human lives. I hope new vistas can be opened up for the research subjects and methodologies about the hereafter study of urban spaces through the mutual communications with various adjacent regions including films.

• 패션비즈니스
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• 제15권5호
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• pp.144-160
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• 2011

This study investigated the colors of the costumes and backgrounds of characters in the films "Thirst" and "Mother" from an integrated perspective. As a study method, ten scenes per film, which contained the characters and backgrounds from the start to the end of the DVDs of "Thirst" and "Mother" were examined. For integrated color analysis of the costumes and backgrounds, the colors of the captured scenes were simplified to extract representative colors, and then color palettes were presented according to the ratio of area. The colors of costumes were analyzed by recognition through the eyes based on the I.R.I. Hue and Tone 120. Furthermore, the color images of the two films were analyzed using the I.R.I. adjective image scales and the I.R.I. color image scales. The colors of the film "Thirst" were generally low in brightness and high in chroma. They are characterized by dark, gloomy toned-down background in the first half, highly chromatic vivid background in the second half, and the contrast of purple blue colors and red colors. The colors of the film "Mother" are characterized by complementary colors between background and costume colors, and various tones of blue and green colors. From the aspect of color tones, they were relatively high in brightness compared to the film "Thirst" but low in chroma. On the I.R.I. adjective image scale, contrasting adjectives were extracted simultaneously from the film "Thirst" as the adjectives were evenly distributed at hard, dynamic and static, whereas the adjectives extracted from the film "Mother" were distributed at hard and statistic. On the I.R.I. color image scale, both films were located at hard, but the film "Thirst" was located at dynamic whereas the film "Mother" was located at static.

• 대한방사선협회지
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• 제25권1호
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• pp.24-24
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• 1999

In order to establish reasonable concept and background on repititive films, we analyzed factors due to wasted films grouping into three major factors as 1) artificial factor from exposure and positioning. 2) mechanical factor as mechanic error and jammin

• Mass Spectrometry Letters
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• 제2권2호
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• pp.57-60
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• 2011

As background significantly affects measurement accuracy and a detection limit in determination of the trace amounts of uranium, it is necessary to determine the impurities in the Lexan detector film for single particle measurements by thermal ionization mass spectrometry coupled with fission track technique (FT-TIMS). We have prepared various micro sizes of the blank Lexan detector film using a micromanipulation technique for uranium measurements by TIMS. Few tens of fg of uranium background with no remarkable dependency on the film sizes were observed in the blank Lexan films with the sizes from $50{\times}50\;{\mu}m^2$ to $300{\times}300\;{\mu}m^2$. Based on the determination of the uranium background in the Lexan film, any background correction is necessary in the isotopic analysis of a uranium single particle with micron sizes when the particle bearing Lexan film is dissected with less than $300{\times}300\;{\mu}m^2$ size. The isotopic analysis of a uranium particle in U030 standard material using TIMS was carried out to verify the applicability of the Lexan film to the single particle analysis with high accuracy and precision.

• 한국의류학회지
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• 제36권9호
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• pp.916-927
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• 2012

In the $21^{st}$ century, woman leaders are able to influence society through improved social status and economic power. From 1980-1990 there was a rapid global social development of feminism and improved media perceptions. The progression of this process is reflected by female characters in feminism films that included a new dress style. The power suit emerged in the U.S.A of the 1980s, as a dress code that showed the workplace uniform of a professional woman and spread to Korea as an influential style. This study defines the different and similar aspects in the development of women's position and the role involved in a structural background through a comparison of the socio-cultural meaning of the power suit expressed in American and Korean feminism films. For analysis, this study chose American films in the 1980s and Korean films in 1990s that fulfilled elements about feminism films. Subsequently in American feminism films, the power suit expressed an equal authority with men, strategic use of femininity according to task type, and a dissipation of symbolic effects like a rich look. In Korean feminism films, the power suit expressed an end of femininity like female transvestite, independent female images with the masculinization of appearance, and a mix of new and traditional styles.

• 한국의류산업학회지
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• 제16권4호
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• pp.543-553
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• 2014

This study analyzes the visual image and the symbolic image of the 'New Woman' main female characters' costumes in three films: , , and , set in the Korean Empire Period and filmed in the last 10 years. The findings are as follows. First, on the visual image by formative characteristics, Gibson girl style was reflected in Western costume design. Korean costume design is based on a traditional style (or modified in some parts). Second, the three films have the same historical background on the visual image by the fidelity of historical research; however, the fidelity of historical research differs and varies with the personality of characters or situations in the films. Third, all three films share the symbolic image by characteristics of characters and 'New Woman' aspect with the same historical background and 'New Woman' female character in common; however, the personality and 'New Woman' aspect of the characters were somewhat different. There was also a distinct difference in the symbolic image of Western and Korean costumes. Western and Korean costumes signify externality versus internality and denial versus the affirmation of national identity in ; dailiness versus ceremonialness and dynamics versus statics in ; and independence versus conformity and variability versus continuity in .

• 한국재료학회지
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• 제17권6호
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• pp.303-307
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• 2007

ZnO thin films were prepared by pulsed laser deposition on amorphous fused silica substrates at different ambient $O_2$ pressures varying from 0.5 to 500 mTorr, to observe the effect of ambient gas on their crystalline structure, morphology and optical properties. Results of X-ray diffraction, scanning electron microscopy, atomic force microscopy and photoluminescence studies showed that crystallinity, surface features and optical properties of the films significantly depended on the oxygen background pressure during growth. A low oxygen pressure (0.5 mTorr) seems to be suitable for the growth of highly c-axis oriented and smoother films possessing a superior luminescent property. The films grown at the higher $O_2$ pressures (50-500 mTorr) were found to have many defects probably due to an excessive incorporation of oxygen into ZnO lattice. We speculate that the film crystallinity could be affected by the kinetics of atomic arrangement during deposition at the higher oxygen pressures.

• 한국진공학회:학술대회논문집
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• 한국진공학회 2010년도 제39회 하계학술대회 초록집
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• pp.208-208
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• 2010

Zinc oxide (ZnO) is a functional material with interesting optical and electrical properties, a wide band gap (more than 3.3 eV), a high transmittance in the visible light region, piezoelectric properties, and a high n-type conductivity. This material has been investigated for use in many applications, such as transparent electrodes, blue light-emitting diodes, and ultra-violet detector. ZnO films grown under low oxygen pressure by thin film deposition methods show low resistivity and large free electron concentration. Therefore, reducing the background carrier concentration in ZnO films is one of the major challenges ahead of realizing high-performance ZnO-based optoelectronic devices. In this study, we deposited ZnO thin films on sapphire substrates by pulsed laser deposition (PLD) with employing an oxygen plasma source to decrease the background free-electron concentration and enhance the crystalline quality. Then, the substrate temperature was varied between 200 'C to 900 'C The vacuum chamber was initially evacuated to a pressure of $10^{-6}$ Torr, and then a pure $O_2$ gas was introduced into the chamber and the pressure during deposition was maintained at $10^{-2}$ Torr. Crystallinity and orientation of ZnO films were investigated by X-ray diffraction (XRD). The film surface was analyzed with atomic force microscope (AFM). And electrical properties were measured at room temperature by Hall measurement.

• 복식
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• 제50권8호
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• pp.177-198
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• 2000

The major purpose of this study is to obtain the evident and visual data about the changes of Korean dress with a socio-cultural context through dress depicted in the Korean films since the 1960s. For this purpose, after were Korean socio-cultural background including the history of Korean films and mass fashion trends reviewed, total fifteen Korean films by ten year were selected on the basis of contemporaneity popularity, and fashionability, and analyzed with the data reviewed before. And the results can be summarized as follows : Dress in the Korean films of the 1960s shows sporty casual took influenced by western style, with the popularity of young fashion and youth film. The typical styles are sac dress and mini skirt fur women, and suit with American silhouette for men. Unisex mode including slim T-shirts and blue jeans with European silhouette supt appears mainly in the Korean films of the 1970s, with the change of sex roles and mass fashion trend. Dress in the Korean films of the 1980s is characterized by bold silhouette and decorative details. with the boom of erotic metro-drama and luxurious fashion trend, such as padded jacket, X silhouette ensemble, brig look coat for women, and American style suit for men. Dress in the Korean films of the 1990s shows the rapid cycle of fashion with the increase of casual wear, reflecting the popularity of romantic comedy film and various socio-cultural circumstances. As a result, the current of dress depleted in the Korean films since the 1960s is summarized as the cycle of fashion accelerated, the similarity between men's and women's wear, and the increase of sporty casual wear. Also, dress in the films reflects effectively the socio-cultural context related to fashion except for especially emphasizing characters in films.

• 한국표면공학회지
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• 제29권6호
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• pp.824-828
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• 1996

Co-based alloy thin films ddeposited by fcing targets sputtering(FTS) were investigated for use in high-density magnetic recording media to determine how their magnetic properties are dependent on the sputtering conditions, and thus to find appropriate parameters that allow the sputtering and thin films to meet the specificiations for magnetic properties. FTS can discharge at lower working gas pressure than other sputtering methods such as dcmagnetron sputteing because the plasma is sufficiently confined by a magnetic field applied perpendicular to both of the target planes, which results in plasma-free substrates. Co-Cr-Ta films were deposited by FTS on glass and silicon substrates at substrate temperature between room temperature and $350^{\circ}C$, and at argon gas pressure between 0.1 and 10mTorr. The films were also deposited on polyimide tapes at substrate temperature of $130^{\circ}C$ and argon gas pressure of 1 mTorr. The effective advantages of Ta as an additional element were investigated, using the same films on the tapes. As a result of the experiment, it was found that better magnetic properties were obtained in the ranges of higher temperature and lower argon gas pressure with background pressure in thr range of $1.5 \times 10^{-6}$ Torr. Ta addition at 2 to 4 atomic percent almost havled the Co-Cr grain sizes, indicating that Ta addition at an appropriate atomic percent is effective for improving the microstructure and characteristics of Co-Cr films.