• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.187-198
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• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).

• Journal of Bio-Environment Control
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• v.22 no.2
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• pp.81-86
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• 2013

This experiment was carried out to select white asparagus varieties suitable for shading culture in greenhouse. Eight white and one green varieties were tested. Seeds were sown in 72-cell trays in a glasshouse on 24 Dec. 2008 and the seedlings were transplanted in a P.E house on 22 May 2009. Planting distances were 30 cm apart in a raw and 125 cm between the raws. For white asparagus production, small tunnel ($210cm{\times}160cm$) was established inside the P.E house, and covered with black and white P.E film (0.1 mm) on 5 March 2010. Days to sprouting took 5 days in 'Ravel' variety and took 16 to 18 days in 'Backlim', 'Horlim', 'Herkolim' varieties. The number of spear was highest in 'Ravel' with 6 and lowest in 'Backlim' with 3.7. The spear weight was heaviest in 'Herkolim' with 25.6 g and lightest in 'Ravel' with 15.6 g. The highest total yield was in 'Herkolim' with 296 kg/10a, followed by 'Super welcome' with 275 kg/10a and lowest in 'Rapsody' with 176 kg/10a. Marketable yields in 'Super welcome' and 'Herkolim' were 241 kg/10a and 239 kg/10a, respectively, and the yield was lowest in 'Rapsody' with 139 kg/10a. The L grade (over 20 g of spear weight) was highest in 'Herkolim'. Accordingly, 'Herkolim' was the most suitable white asparagus variety among the tested varieties for shading cultivation in greenhouse.

• Korean Journal of Food Science and Technology
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• v.36 no.2
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• pp.283-287
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• 2004

Persimmons suffer from such physiological disorders as flesh softening, peel blackening, and flesh browning, which occur rapidly particularly when exposed to ambient temperature after storage at low temperature, In this study causes of these disorders were examined in terms of respiration and ethylene production of the fruits. Jelly-like flesh softening, considered as symptom of chilling injury, rapidly developed within 3 days of exposure to ambient temperature without modified atmosphere (MA) packaging after low temperature storage. Disorder development was more suppressed at $30^{\circ}C$ than at $20^{\circ}C$; such temperature dependence is closely connected to ethylene production rate of fruits at both temperatures. Inhibition of ethylene production through MA packaging effectively reduced disorder development, which indicates ethylene production is closely related to jelly-like flesh softening disorder. Development of black-staining on peels occurs in fruits exposed directly to ambient temperature, but not in those packaged with thick PE-film. Flesh browning developed only under anaerobic respiration condition of high temperature and MA packaging with thick PE film, and occurred at quick reduction of available oxygen inside MA package at high temperature.

• Cross-Cultural Studies
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• v.50
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• pp.1-29
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• 2018

In the contemporary American cinematic landscape, there is a distinctive tendency to depict the disturbing ways in which characters with brain damages perceive, remember, and think about the world. Despite its attempts to examine the socio-political implications of these characters' subjectivities, the previous scholarship on this trend of film was limited in being either too pessimistically deterministic or too euphorically optimistic. Critically reading neuroscientific discourses on the brain-damaged subject from the perspective of Giorgio Agamben's critique of biopolitics, this paper explores how the contemporary American cinema of the impaired brain attempts to mediate the neurologically inexplicable affects of those subjects who are in the neurological state of exception and to express their experiences of a becoming-nonhuman. By closely reading Darren Aronofsky's Black Swan and Alejandro $Gonz{\acute{a}}lez$ $I{\tilde{n}}{\acute{a}}rritu^{\prime}s$ Birdman in this regard, I show how the two films, by employing different sets of cinematic free indirect techniques, express the neurologically impaired subject's affective experience of a becoming-nonhuman animal in different ways, and thereby to a more or less extent act as 'profaned' neuro-biopolitical apparatuses.

• Trans-
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• v.12
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• pp.245-274
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• 2022

The interactive cinema is based on the interactivity between the cinema and the audience. The discussion of interactive cinema can be divided into two poles. One is to positively look at the possibilities of interactive cinema as a new format and to test with them in various ways. The other is the perspective of a critical warning that the interactivity of interactive cinema risks reinforcing biases while instilling the illusion of freedom and activity in the audience. Considering both of these perspectives, we try to find a way to realize the political and aesthetic possibilities of interactive cinema through characteristic analysis. To this end, we analyzed the interactive film , which has received public and critical attention, based on Brecht's epic theater as a theoretical and practical reference. We analyzed the text/contextual characteristics of this work in three dimensions - an interactive multi-branching structure, a self-reflecting Mise en abyme structure, and an active enjoyment of the audience - and compared them with the epic theater theory. Through this, we examined the conditions and possibilities of interactive cinema as a new epic theater in the new technological/media environment of the 21st century.

• The Journal of the Korea Contents Association
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• v.10 no.7
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• pp.40-48
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• 2010

Reflected-Ultraviolet photography is applied to the evidence of crime, Archaeology, and Dermatology. In the past, Ultraviolet photography was done with standard black-and-white film. Because emulsion of film is more sensitive to near UV light than CCD(Charge Coupled Device) or CMOS(Complementary Metal-Oxide-Semiconductor)of digital camera. In this research, we purpose to improve qulity of ultraviolet photographs and to find out the best alternative digital camera by utilizing a cunsumer digital camera. To achieve theses, we removed IR cutoff filter from digital camera. And by using modified UV pass filter, we verified the increase of image resolution of digital ultraviolet photographs. Also, we analyze reproducibility of digital ultraviolet photographs according to type, size, pixel of image sensor. Furthermore, this research resulted in the development of an practical digital camera system by utilizing a cunsumer digital camera. Eventually, it will contribute to practical use in the various field of digital ultraviolet photographs

• Proceedings of the Materials Research Society of Korea Conference
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• 2011.05a
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• pp.60.2-60.2
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• 2011

본 연구에서는 Indium-free 및 gallium-free 기반의 산화물 TFT를 제작하기 위해 n-type $TiO_2$ 반도체 기반의 thin film transistor ($Mo/TiO_{2-x}/SiO_2/p+\;+Si$)를 oxygen deficient black $TiO_{2-x}$ 타겟을 이용하여 DC magnetron sputtering 공법으로 제작하고 그 특성을 분석하였다. DC magnetron sputtering 공법으로 성막된 $TiO_{2-x}$ semiconductor의 전기적, 광학적, 화학적 결합 에너지 및 구조적 특성 분석을 위해 semiconductor parameter analyzer (Aglient 4156-C), UV/Vis spectrometer, X-ray Photoelectron Spectroscopy, Transmission Electron Microscopy를 각각 이용하여 분석하였으며 이를 RTA 전/후 특성 비교를 통하여 관찰하였다. $TiO_{2-x}$ TFT의 소자 특성은 RTA 열처리 전/후 전형적인 insulator 특성에서 semiconductor 특성으로 변화되는 것을 관찰할 수 있었으며, 최적화된 열처리 공정에서 filed effect mobility 0.69 $cm^2$/Vs, on to off current ratio $2.04{\times}10^7$, sub-threshold swing 2.45 V/decade와 Vth 10.45 V를 확보할 수 있었다. 또한 RTA 열처리 후 밴드갭이 3.25에서 3.41로 확장되는 특성을 나타내었다. 특히 RTA 열처리 후 stoichiometric $TiO_2$ 상태와는 다른 $Ti^{2+}$, $Ti^{3+}$, $Ti^{4+}$ 등의 다양한 oxidation states가 관찰되었으며 이러한 oxidation states를 $TiO_{2-x}$ 박막에서의 oxygen deficient 상태와 연관시킴으로써 oxygen vacancy의 n-type dopant로의 거동을 확인하였다. $TiO_2$ 채널 기반의 TFT 특성을 통하여서 indium free 또는 gallium free 산화물 채널로써의 가능성을 확인하였다.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.12
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• pp.2006-2021
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• 2010

An authentic national spirit in media (particularly films), traditional images, and color preferences is expressed through movies that are melted in local traditions. This study suggests a direction regarding the characteristics for historical costumes by examining traditional color images and cultural preference in the Chinese film (1987), a representative film that deals with Chinese history and traditions. This movie can illustrate the correlation between the temporal backgrounds and the costumes in the movie with the criteria of Eastern color systems. The results of this research are summarized as follows. First, the image of Chinese traditional colors represented in many parts of and the cultural preferences that underlies their works through the expression of traditional colors. The scenes of traditional costumes and colors express the visual embodiments of the costumes that reflect a specific status, ceremony, or ritual. Second, the traditional colors used in the movie are based on the Yin-Yang theory. Particularly, Red, Yellow, Black is mostly used for ordinary clothing. Third, there are some differences in the use of color arrangements, that change regarding the use of traditional colors according to images and situations that follow the intention of the director. Planning the color arrangements is considered an engaging connectivity between traditions and images in the movie and it is extended or reduced based on cultural preferences. Fourth, the increase and decrease of color arrangements is distinctively represented as the story of the movie proceeds.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• Korean Journal of Food Science and Technology
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• v.11 no.1
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• pp.8-12
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• 1979

A cylindrical solar energy focusing collector constructed using aluminum-laminated film plastered on the acrylic plate and examined its performances under the Korean local weather conditions. The reflector surface of this collector· evidenced the reflectivity of 66.1%,which was satisfactory value that could be applicable to the solar collector for its low price and at·availability. Collector efficiency measured at the heat exchanger fluid in absorber-copper pipe black colored was 73% and the resulting natural convection of the heat transfer media (water) was recorded up to 2.82 cm/sec. The overall efficiency of the solar heater in operation was 28.6% and it was correlated with the solar energy input and the temperature elevation difference gained.