• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.

• International conference on construction engineering and project management
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• 2022.06a
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• pp.1249-1249
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• 2022

The facade, an exterior material of a building, is one of the crucial factors that determine its morphological identity and its functional levels, such as energy performance, earthquake and fire resistance. However, regardless of the type of exterior materials, huge property and human casualties are continuing due to frequent exterior materials dropout accidents. The quality of the building envelope depends on the detailed design and is closely related to the back frames that support the exterior material. Detailed design means the creation of a shop drawing, which is the stage of developing the basic design to a level where construction is possible by specifying the exact necessary details. However, due to chronic problems in the construction industry, such as reducing working hours and the lack of design personnel, detailed design is not being appropriately implemented. Considering these characteristics, it is necessary to develop the detailed design process of exterior materials and works based on the domain-expert knowledge of the construction industry using artificial intelligence (AI). Therefore, this study aims to establish a detailed design automation algorithm for AI-based condition-responsive exterior wall panels and their back frames. The scope of the study is limited to "detailed design" performed based on the working drawings during the exterior work process and "stone panels" among exterior materials. First, working-level data on stone works is collected to analyze the existing detailed design process. After that, design parameters are derived by analyzing factors that affect the design of the building's exterior wall and back frames, such as structure, floor height, wind load, lift limit, and transportation elements. The relational expression between the derived parameters is derived, and it is algorithmized to implement a rule-based AI design. These algorithms can be applied to detailed designs based on 3D BIM to automatically calculate quantity and unit price. The next goal is to derive the iterative elements that occur in the process and implement a robotic process automation (RPA)-based system to link the entire "Detailed design-Quality calculation-Order process." This study is significant because it expands the design automation research, which has been rather limited to basic and implemented design, to the detailed design area at the beginning of the construction execution and increases the productivity by using AI. In addition, it can help fundamentally improve the working environment of the construction industry through the development of direct and applicable technologies to practice.

• (The) Research of the performance art and culture
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• no.40
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• pp.163-192
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• 2020

Sinjungsin Mask Play, one of Ttangseolbeop, is related to Seongjusin's life story. Sinjungsin Mask Play is a reconstruction of the story of the folk gods Seongjusin met while returning home. Seongjusin's life story proceeds in the form of Mask Play, and the monk who leads the sermon plays narration and main roles. Many believers play various roles and musicians. Sinjungsin Mask Play introduces many folk beliefs, sounds for intrigue, and talks. Sinjungsin Mask Play uses the same method of enumeration and repetition as the existing Mask Play. The repetition of a sentence or phrase plays a role in foreseeing the meaning of the context or foretelling the development of the plot to the audience. This repetition is intended to emphasize the situation of the scene and to create rhythm. Since Mask Play was exclusively for the common people, Mask Play actors use the repeating method commonly used in folk songs to form lines. This gives the audience a familiarity, effectively communicating the lines and responding to their tastes. Sinjungsin Mask Play borrowed people's way of playing for the public's mission. It inherits the dramatic forms of traditional traditional plays such as repetition of words or sentences or phrases, codification of words or sentences, borrowing of existing songs, and formal expression units. In addition, through repeated performances, believers can easily and easily learn and understand. This is the dramatic form and characteristics of Sinjungsin Mask Play. Sinjungsin Mask Play was handed down from Faith Communities and was used as a means of folk cultivation to spread illegality. Buddhism externalizes the process of accepting folk beliefs through Mask Play, and in the case of Shinto who participated directly or indirectly, they naturally acquire the belief system of Hwaeom Kyung through play. Sinjungsin Mask Play, one of Ttangseolbeop, can be said to have great value as an ICH, as well as popularization and mission.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.135-158
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• 2019

The purpose of this paper is to elucidate the characteristics that make Guillermo del Toro's film Pan's Labyrinth (2006) a fantasy film, and the meaning and function of the labyrinth motifs closely related to it. Tzvetan Todorov defined the 'fantastic' as the hesitation between natural and supernatural interpretations in the face of supernatural events that invade reality. In Pan's Labyrinth, the fantastic continues to be seen, because the film does not allow the hesitation to disappear; thus, the fantastic does not enter the 'uncanny' genre or 'marvelous' genre, and because it keeps its fantastic state. In this case, the labyrinth symbolizes art as a passage into the fantastic world and a space that represents it. Rosemary Jackson saw the fantasy as a "literature of desire to compensate for a lack resulting from cultural constraints" and thus repeatedly dealing with unconscious materials. Del Toro's film shows the character of the fantastic as an expression of desire by allowing 'family romance' to take place in the fantastic world. In this case, the labyrinth symbolizes the mind as a place of desire. Kathryn Hume defined fantasy as a reaction to reality, like mimesis, and 'departure from consensus reality.' The film, operating in a 'vision' genre, satisfies its definition by allowing the fantastic world to illuminate the reality world through 'contrastive' technique, and brings out the fantastic it has. In this case, the labyrinth symbolizes the world as a mirror of the world of reality. Thus, Pan's Labyrinth is representative of fantastic film in that the fantastic functions very effectively, and the labyrinth appearing in this film can be evaluated as a motif that is full of meaning by symbolizing all three elements of art, world and mind. The significance of this paper is to shed light on how a motif works in a particular genre through the above considerations.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.8 no.5
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• pp.369-383
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• 2018

In this paper, suggests a gamification analysis method applied to screen sports. The analysis method is through the process of comparison, collection and application. In the process of comparison, compare the characteristics of actual sports and screen sports and Data collection to complement the differences derived from the comparison process is done during the collection process. Process of application is verify for application status of Gamification. and analyzed of screen golf and screen baseball. The result shows that screen golf couldn't apply walking exercise in the comparison process, and screen baseball couldn't apply exercise elements except batting. During the collection process, driving distance and swing data were used for screen golf, and driving distance, batting average and RBI (runs batted in) data were used for screen baseball. Lastly, it was revealed during the application process that both screen golf and screen baseball provide data to users by using reward, competition and Self-expression elements of gamification. The analysis methods presented in this study can be a method to analyze screen sports, and are expected to be appropriate methods to make screen sports.

• The Journal of the Convergence on Culture Technology
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• v.9 no.3
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• pp.461-470
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• 2023

This paper analyzes the spatial representations constructed by reality, filming, and narrative in the works of Hong Kong film director Wong Kar-wai, and how these spaces influence Hong Kong's urban culture, perception, and interpersonal relationships. To analyze Wong Kar-wai's films, Charles Sanders Peirce's semiotics concepts and Paul Virilio's spatial concepts were applied. Through this, we examined how the meaning embedded in the spatial representations of Wong Kar-wai's films could become a crucial factor in their success. Wong Kar-wai focused on the values of human relationships formed by society in his subject expression, directly representing the human inner world and prompting audiences to think about it. In this paper, we categorized the spaces depicted in Wong Kar-wai's films as public, private, and connective spaces, and analyzed them as a means to show the living environment and emotions of Hong Kong's youth. Through this, we determined that the spatial representations in Wong Kar-wai's films effectively demonstrate the cultural interpretation function of Hong Kong's citizen consciousness at the junction of Eastern and Western cultures and social connections. In conclusion, Wong Kar-wai's works provide a rich understanding of contemporary people's lives, emotions, and urban spaces, offering valuable insights into Hong Kong's film industry and cultural values.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.26 no.1C
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• pp.43-52
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• 2006

Despite several constitutive models have been proposed and applied, it is still difficult to choose a suitable model and to estimate adequate analysis parameters. Furthermore, a cyclic shear behavior under the volume change caused by the seepage is more complex. None of the constitutive model is available at present in the expression of the cyclic behavior of soil under an additional volume change condition by seepage. Therefore, a new geotechnical hybrid simulation system which can control the pore water immigration was developed. The system enables a quantitative evaluation of the residual deformation such as lateral spreading and settlement caused by the liquefaction. The seismic responses in a one-dimensional slightly inclined multilayered soil system are taken into consideration, and the soils are governed by both equation of motion and the continuity equation. Furthermore, the estimation and the selection of the soil parameter for the representation of the strong nonlinearity of the material are not required, because soil behaviors under the earthquake motions are directly introduced instead of a numerical soil constitutive model. This paper presents the concept and specifications of the system. By applying the system to an example problem, the permeability effect on the seismic response during cyclic shear is studied. The importance of the volume change characteristics of sandy soil during and after cyclic shear is shown in conclusion.

• Smart Media Journal
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• v.11 no.7
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• pp.76-84
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• 2022

In Korea, where rice is the staple food, there are many cases in which the nutritional composition of food is different at the same weight, even though the same ingredients are used and the food or food name is the same. The cause is closely related to the moisture content of the food according to the cooking method and cooking process. In order to design a diet tailored to individual health and supply accurate calories and nutrients, a method of expressing food data that is not affected by the cooking process or cooking method is required. Usually, the same ingredients or foods show a lot of deviation from the nutritional components presented in the standard food database due to the difference in moisture content. For this reason, there are problems that increase the complexity of the food ingredient database and the difficulty in using it. As a method to improve these problems, we would like to propose a food data expression method based on dry weight. As an example of this, the characteristics of rice as a food material and changes in major nutritional components according to the change in moisture of various rice-processed foods made from rice were considered. In addition, as an example of how to normalize food data through this, the dry weight-based nutrition label of rice was presented.

• Issues in Feminism
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• v.11 no.2
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• pp.49-83
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• 2011

This article explores the characteristics of care and care labor which is core keyword of the welfare state and the way of institutionalization of care labor, focusing specially on differences among women. Caring is defined by the expression of morality and labor accompanied by concrete action. But, care labor in the welfare state is defined by "activities involved in caring for the ill, elderly, handicapped and dependent", and I think, that definition is more useful than the narrow one for policy institutionalization. But the latter definition intentionally separates the domestic work from care work. Care labor is considered to be different from the market labor in terms of motivations, but there are some limits in standardization and commercialization of the traits of emotional and moral engagement. Thus, requiring of emotional motivation as one of the job descriptions is not realistic. Welfare state is institutionalizing women's unpaid care work in family through de-familization, and its policy tools are cash benefits and services for care-related, which influence to the female wage worker and fulltime housewife, care receiver and care giver, and polarization of women's class in a very different way. Cash benefits enhances the division of gender labor, polarizes the care laborer and weakens of expansion the care as decent job. The movement of feminist welfare state have a vision of universal service expansion and need the policy list for de-gendering of care labor.

• Korean Journal of Culture and Social Issue
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• v.11 no.3
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• pp.1-21
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• 2005

Many researches have argued the most important dimension of perception or evaluation of person is morality and competence in Korean culture. This study was to investigate the cultural characteristics of the criteria of personhood. Two studies were conducted to investigate the criteria used to evaluate person by qualitative approach and the differences of evaluation of wrongdoer who violates interpersonal norm or individual autonomy by experimental method. In addition, anger as emotional response to wrongdoer is conceptualized in terms of moral and self-conscious emotion. Expression of anger is less an outpouring of emotion and more a culturally regulated and normative mode of managing and putting into practice our society's system of rights and obligations - its moral code. According to results of qualitative data by interview and focus group interview, the most important criteria used to evaluate personhood was interpersonal concern, esp, expectation and norm. The results of experiment revealed that violation of interpersonal norm domain evoked angrier towards violator than autonomy domain. The subjects ascribed more blame and responsibility to interpersonal norm violator than autonomy keeper. Also function of behavior inhibition of anger was higher in interpersonal norm domain than autonomy domain.