• The Journal of the Korea Contents Association
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• v.15 no.4
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• pp.139-152
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• 2015

One of the most latest trends in today's marketing practice is to create branded contents for interacting with online consumers. Marketers are increasingly adopting behind-the-scene contents which disclose a brand's backstage information in their contents marketing efforts. The current study conceptualizes this behind-the-scene storytelling based on dramaturgical theory and investigates its impacts on consumer responses. The study also examines how consumers advertising skepticism level would influence on the evaluation of branded contents. In addition, the moderating role of advertising skepticism in evaluating brand's backstage information is investigated. The findings suggests that consumers who are exposed to brand's backstage indicate greater information attitude, brand attitude, and purchase intention than those who are not exposed to brand's backstage. Also consumers who have lower advertising skepticism evaluated branded contents more positively than high ad skepticism consumers. Lastly, the moderating role of advertising skepticism on the impact of brand's backstage disclosure is reported.

• Current Optics and Photonics
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• v.5 no.5
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• pp.514-523
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• 2021

Methods for absolute depth estimation have received lots of interest, and most algorithms are concerned about how to minimize the difference between an input defocused image and an estimated defocused image. These approaches may increase the complexity of the algorithms to calculate the defocused image from the estimation of the focused image. In this paper, we present a new method to recover depth of scene based on a sharpness-assessment algorithm. The proposed algorithm estimates the depth of scene by calculating the sharpness of deconvolved images with a specific point-spread function (PSF). While most depth estimation studies evaluate depth of the scene only behind a focal plane, the proposed method evaluates a broad depth range both nearer and farther than the focal plane. This is accomplished using an asymmetric aperture, so the PSF at a position nearer than the focal plane is different from that at a position farther than the focal plane. From the image taken with a focal plane of 160 cm, the depth of object over the broad range from 60 to 350 cm is estimated at 10 cm resolution. With an asymmetric aperture, we demonstrate the feasibility of the sharpness-assessment algorithm to recover absolute depth of scene from a single defocused image.

• Korean Journal of Heritage: History & Science
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• v.33
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• pp.182-208
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• 2000

Kwan-gyongdo is a pictorial presentation of a $s{\bar{u}}tra$ that teaches the Buddhist way for a person to be reincarnated in the paradise of $Amit{\bar{a}}bha$ Buddha. It consists of a preface (Kwan-gyong sobun pyonsangdo) and 16 scenes of $S{\bar{a}}kyamuni$ preaching. The preface, a painting illustrating the motivation behind the production of tile kwan-gyongdo, illustrates the "Legend of King $Aj{\bar{a}}tasatru$", a tragic story in which the prince of India's Magadha kingdom murders his father, the king, to usurp the throne. The 16 subsequent scenes show $S{\bar{a}}kyamuni$ teaching the distressed queen how a person can be reborn in paradise through meditation and praying. In the kwan-gyongdo in the Mogao Cave No. 17 in Dunhuang, China, painted during the Tang dynasty (618-907), the preface and the 16 scenes are presented in one painting, whereas they are presented in two paintings in those painted in Korea during the Koryo period (918-1392). The difference is attributed to the stylistic disparity of the two periods. Despite the temporal gap between the Koryo paintings and the Mogao Cave paintings, a comparison of the two can show the characteristic development of kwan-gyongdo. Kwan-gyongdo of the Koryo period do not have the "enmity created in the previous life" scene featuring a heavenly figure and a hare, a result that shows the influence of the Tang school that deleted the scene. The scene of $S{\bar{a}}kyamuni$ preaching on the Mountain of Spirit is included in kwan-gyongdo of both the Koryo period and the Mogao Cave, but the scene of $S{\bar{a}}kyamuni$ emerging from the earth to the Magadha palace is not included in Koryo kwan-gyongdo. Kwan-gyongdo of Koryo are generally a simpler but more faithful rendering of the $s{\bar{u}}tra$.

• Journal of architectural history
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• v.6 no.3 s.13
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• pp.129-143
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• 1997

The perspective representation and its effect that appeared in the tombs and mural paintings of koguryo are summarized as follows: First, The inside structure of the tombs is likely to show the deepness effect, placing each function in the front and both sides centering around the mane pillars and creating the boundaries and the spaces that have various visibility between the inside and outside spaces of the structure just like a traditional Korean house shows. In addition, The deepness effect is emphasized by suggesting that the spaces are countinued with a storage attached behind the main house or by forming the level and deployment in a narrow space like the scene that a large array is looked out from the main house. Second, The deepness effect is expressed by making the form of ceiling turn to a vertical space of an ascending image, constructing it just as the lotus lamp ceiling of a wooden architecture or drawing it just like the imaginary heavenly world with the sun the moon and mythical fairies and animals spread in it. Thried, The perspective effect is disclosed by drawing the mural pictures in an equally set bird's-eye view without regard to the disfance proportion according to the conceptual visualization which is not a visual penetration, adopting the multiple view points and moving view points that are moving around as an important manner of seeing. Fourth, The deepness effect is emphasized through the scene of changing spaces when they are looked out far or looked into depending on a viewpoint of the daily life by forming the fromes of paintings that we made up with actual pillars, Du Gong, crossbeams or that are painted in most tombs. Fifth, The rich spatial senses are reflected by originating the characters of the three directions, level, deployment and ascending. An example which can support the conclusion of this study can be given here. that is, the construction ground plan of a dwelling house of a nobleman at the end of Koguryo as a remain which was excavated at Dongdae Ja in Jip An.

• Journal of English Language & Literature
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• v.58 no.2
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• pp.347-378
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• 2012

Holocaust fiction has always raised the moral and aesthetic questions about the nature of mimesis and the literary representation of atrocity. The Holocaust, defying any representation of it, has been considered as unspeakable, unknowable, and incomprehensible. This essay aims to explore Martin Amis's narrative strategies in Time's Arrow to conduct the difficult tasks of re-creating the primal scene and of discovering a moral reality behind the Holocaust. One of the major narrative experiments in Time's Arrow is the time reversal: the story moves from the present of phony innocence to the past of unrelieved horror. Reversing the temporal order of events reverses causality and generates the revision of the morality, ultimately creating the epistemological and ontological uncertainties. Amis's novel is also narrated from the perspective of a double persona of the protagonist who, as a Nazi doctor, participated in the massacre in Auschwitz and then fled to the United States following the war. As almost a self-conscious storyteller, the narrator shares a sense of retrospective guilt with the reader who finally realizes that the Holocaust was a world turned upside down morally. Amis's postmodern narrative strategies are unusual enough to warrant a new way of representing the Holocaust.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.23
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• pp.249-288
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• 2004

The active use of the container vessel has brought with it high speed and reduced transit time ; however, the system of delivering the goods via B/L at the destination has lagged behind technical advances, becoming a burden to today's international traders, especially consignees and/or importers. More recently the sea waybill(SWB), that is to say an ocean-type AWB, has come on the scene. In Europe and the USA the use of SWB has increased significantly, but has also left room for improvement due to its short history of use. However, Recently, more attention is paid to SWB as a means to solve the B/L Crisis is getting more and more serious. In addition, due to its non-negotiability, the sea waybill could easily be replaced by messages sent between the interested parties by Electronic Data Interchange. With the paper document, transfer of title is fulfilled by transferring the original bill of lading to the buyer of the goods. However, in an electronic environment this is difficult to replicate. A number of solutions have been investigated, including using an electronic bill of lading, by controlling changes in title to goods through irrevocable, but transferable instructions to the carrier, or by appointing an independent electronic data registry, or replacing the bill of lading with a sea waybill, which is non-negotiable. The purpose of this study is to investigate some problems which may hinder SWB from coming into wide use and to analyse how to solve problems due to introduction of electronic sea waybill.

• Journal of English Language & Literature
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• v.64 no.2
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• pp.273-298
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• 2018

This paper, postulating that Lowell's Imagism is not some "Amygism" that wobbles with "emotional slither," "mushy technique" and "general floppiness" as Pound once mocked, but another kind of poetic discourse that deserves the fullest re-consideration, goes back to the very scene where Pound left for Vorticism, condescendingly allowing Lowell and her supporters to use the name "Imagism" for three years. There, it tries to illuminate how Lowell, making the most of the opportunity given to her, picked up what Pound had left behind, grafted it on the soil of America, and finally fulfilled her literary passion to awaken the common reading public to the taste for poetry reading. For the purpose, it looks into her critical reviews in Tendencies in Modern American Poetry, and stresses her creative critical efforts to re-address Pound's principles of "Imagisme." In particular, given the limit of space, it focuses only on the second principle of her Imagism and examines the modernity of her concepts of "a cadence," "suggestion," and "the real poem beyond." Then it reads "Patterns" in the context of Japanese poetry and Noh drama and analyzes the poetic patterns that Lowell made through a creative adaptation of Japanese aesthetics for Imagist poetics. In doing so, this paper aims to provide reasonable evidences to evaluate the modernity of Lowell's Imagist ars poetica and to consider her a truly serious Imagist poet worthy of a place in the history of American poetic modernism.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2022.10a
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• pp.37-39
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• 2022

As the COVID-19 pandemic hits the world, the Tokyo Olympics in 2021 will be held behind closed doors. Some broadcasters showed the heart rate of the players in real time using image processing-based non-contact measurement to convey the vividness of the scene on TV. However, since the non-contact model uses changes in the skin color of the players' faces according to blood circulation as a parameter, there is a possibility that errors may occur due to interference factors such as natural light or glasses. Therefore, in this paper, the non-contact heart rate measurement model and the contact heart rate measurement model are tested in an environment free from interference and their accuracy is analyzed.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.71-80
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• 2012

The Kut is the core of the traditional folk religion. The afterlife wedding Kut actually performs a traditional wedding ceremony by personifying the deceased in the process of performing the composition of Kut geori that cannot be observed from other Kuts, which is an important means to convey the situation of Kut more clearly. A traditional wedding ceremony performed in the Kut enables the audience to understand the meaning behind the Kut. The costume worn in the traditional wedding ceremony of the afterlife wedding Kut makes the audience understand the existence of the deceased by the use of a scarecrow dialect and makes them feel a vivid sense of the scene emitting from the Kut, which performs a traditional wedding ceremony in the composition of Kut geori. The results of this study showed that a shaman who led the afterlife wedding Kut had a scarecrow that symbolized the bride and a bridegroom wear the traditional wedding costume in order to visualize the deceased and express the symbol of a wedding which could not be made in this world. It can be interpreted that the traditional costume derived from the afterlife wedding Kut plays a symbolic role, which converts the deceased into a living person through the formal aspect of ceremonial costume and the cultural aspect of wedding ceremony.

• Journal of Information Technology Applications and Management
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• v.27 no.1
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• pp.187-198
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• 2020

With the development of technology and the creation of an entertainment environment for leisure, various marketing strategies are being used in the film industry. Among them, the use of the credit cookie of ending credits was very effective in producing the series. The ending credit is the time it takes to show the names of the people who made the movie, which is meaningless to the audience. There is a cost to produce a ending credit but It wasn't made because no revenue was generated. The credit cookie was inserted into this ending credit area, which brought new pleasure to the audience. Most of them were epilogue images showing the story behind the movie, NG images showing the NG situation during film production, and In videos mentioned in the movie but not shown in the movie itself. As various ideas about credit cookie were connected with marketing, a series movie and a spin-off foretelling the derivative works after the screening work were produced and have a new meaning. As a result, the time of ending credits, which had no commercial value, became the methodology of the most powerful promotional strategy. Looking at the difference between live-action film and animation in producing such credit cookie, unlike live-action films that edit the remaining parts after shooting, the NG video of the animation has a lot of time and money to produce. So, it hasn't try very well, and it seems to have been actively produced when moving from 2D animation to 3D animation. This is because 3D animation, which has already been modeled, can create new NG scenes by simply adding animating based on the layout of the created scene. Since it is possible to produce an episode movie at a low cost and time, and to use the scenes of the movie after the production, it will be necessary to strategically produce credit cookie for promotion in animation.