• Cartoon and Animation Studies
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• s.25
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• pp.65-85
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• 2011

In this essay, Japanese animator Kihachiro Kawamoto's works will be analyzed. Kawamoto made Breaking of Branches is Forbidden in 1968 and was famous for puppet animation as The Demon(1972), Dojoji Temple(1976) and House of Flame(1979) used Japanese traditional elements in his works. The themes are the agony and despair of a human being, and the narrative is developed dramatically. This is possible through a variety of techniques in animation expression. For example of this are the movement of the puppets and the lighting. In the case of Kawamoto's works, above all, it can be said that the dramatic development depends on editing - the relation of each shot to the next shot. Therefore, this analysis will focus especially on the editing of The Demon, Dojoji Temple and House of Flame. Kawamoto's method of editing will be examed and the analysis will confirm that classical continuity edting by controling space and time has been used. Namely that the effect of editing enhances dramatic development of the narrative on Kawamoto's works. This study will also discuss the benefit of using cinematic methods of in animation. Eventhough it is not essential, Kawamoto chooses cinematic method editing. Through their use, he is able to absorb the audience in the traditional Japanese world which ordinarily could be too difficult to understand through puppet animation.

• Korean Journal of Animal Reproduction
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• v.24 no.4
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• pp.429-437
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• 2000

This study investigated the successful introduction of genes of erythropoietin (EPO) and enhanced green fluorescent protein (EGFP) in bovine embryos following nuclear transfer of bovine fetal fibroblasts (bFF), which were transfected by retrovirus vector system. Non-starved bFF were, transferred into perivitelline space of enucleated oocytes. The bFF-oocyte units were accomplished by cell to cell fusion and activated with calcium inophore and 6-dimethylaminopurine. Reconstructed embryos were co-cultured with bovine oviduct epithelial cells in CRlaa medium for 8 days. Out of 187 (EPO) and 210 (EGFP) bovine eggs reconstructed by nuclear transfer, 149 (EPO : 80.0%) and 158 (EGFP : 75.2%) embryos were cleaved, and among them 36 (EPO : 24.2%) and 35 (EGFP : 22.2%) embryos developed to the blastocyst stage. Of these blastocysts, 100% integration of EPO gene in 36 embryos was determined by PCR, and 100% expression of EGFP gene in 35 embryos was observed under the fluorescent microscope. This result indicates that bovine oocytes reconstructed by nuclear transfer of transfected bFF can successfully develop to the blastocyst stage. Furthermore, this novel procedure may be presumably an attractive method efficiently to produce the transgenic cattles.

• School Mathematics
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• v.8 no.1
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• pp.1-25
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• 2006

To be good at numeration is an important matter in learning mathematics. Unlike the 6-th curriculum, integers are introduced in middle school curriculum for the first time in the 7-th curriculum. Therefore, to help the students team integers systematically and thoroughly, it is necessary that we allow more space for process of introduction, process of operations and practice of operations in the 7-th curriculum text book than that of 6-th curriculum text book. As specific and systemic visualized teaching of operation is especially important in building the concept of operation, by using visualized teaching methods, students can understand the process of operation more fully and systematically. Moreover, students become proficient in operation of positive number and negative numbers by expending this learning process of operations to the operations used absolute value. In 7-th grade mathematics, the expression of positive numbers and negative numbers visually are useful for understanding of operations for numbers. But it is not easy to do so. In this paper we use arrows(directed segments) to express positive numbers and negative numbers visually and apply them to perform the operations for numbers. Using arrows, we can extend the method used in elementary school mathematics to the methods for operations of positive numbers and negative number in 7-th grade mathematics. By experiments, we can know that such processes of introduction for operations are effective and this way helps teachers teach and students learn.

• Economic and Environmental Geology
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• v.49 no.4
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• pp.269-280
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• 2016

I presented three vector crustal magnetic anomaly components and six gradients by using spherical Slepian functions over the cap area of $20^{\circ}$ of radius centered on the South Pole. The Swarm mission, launched by European Space Agency(ESA) in November of 2013, was planned to put three satellites into the low-Earth orbits, two in parallel in East-West direction and one in cross-over of the higher altitude. This orbit configuration will make the gradient measurements possible in North-South direction, vertical direction, as well as E-W direction. The gravity satellites, such as GRACE and GOCE, have already implemented their gradient measurements for recovering the accurate gravity of the Earth and its temporal variation due to mass changes on the subsurface. However, the magnetic gradients have little been applied since Swarm launched. A localized magnetic modeling method is useful in taking an account for a region where data availability was limited or of interest was special. In particular, computation to get the localized solutions is much more efficient and it has an advantage of presenting high frequency anomaly features with numbers of solutions fewer than the global ones. Besides, these localized basis functions that were done by a linear transformation of the spherical harmonic functions, are orthogonal so that they can be used for power spectrum analysis by transforming the global spherical harmonic coefficients. I anticipate in scientific and technical progress in the localized modeling with the gradient measurements from Swarm and here will do discussion on the results of the localized solution to represent the three vector and six gradient anomalies over the Antarctic area from the synthetic data derived from a global solution of the spherical harmonics for the crustal magnetic anomalies of Swarm measurements.

• Smart Media Journal
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• v.4 no.4
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• pp.111-119
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• 2015

As a variety of HMD(Head Mounted Display) has come out, the production of 3D images onto which VR(Virtual Reality) technologies are grafted has been contributed to activating the production of image contents depending on a tangible or immersing type. VR-based image contents have enlarged their applicability across the entertainment industry from animation and game to realistic images. At the same time, the solution development for producing VR image contents has also gained elasticity. However, among those production solutions which have been used until now, fixed stereo camera based photographing has a limit that the binocular disparity of a user is fixed. This does not only restrict a way of expression a producer intends to direct, but also may cause the effect of 3D or space not to be sensed enough as view condition is not considered enough in a user's side. This study is aimed at resolving with skills applying in the latter part of 3D image production the problem that convergence points may be adjusted with restriction, which tends to happen at the time of the production of VR image contents. The later stage of the 3D imaging work analyzes and applies to game engines the significance of adjusting convergence points through the visualization of binocular disparity so that it is available to implement a function that the points could be controlled at random by a user.

• Cartoon and Animation Studies
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• s.36
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• pp.349-374
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• 2014

The light is the language. Directors have to describe the scene component effectively his intention to configure the scene as an appropriately. After this act of the character, the layout of the props and scene lights will enter to the scene components. Those things help to audiences can understand narrative of work and emotion that producer want to send. Expressing their emotions especially using the lights by adjusting the colors and contrast makes audience to concentrate on work and understand naturally. This lighting technique clearly appears on early year theaters stage of England and Rembrandt's paintings. Properly dividing and controlling the lights dramatically increases the beauty of the work elements to express a variety of emotions such as worries and fear. Therefore, it can be evolve depending on director's intent of using lights on his work. Lights can increase involvement of human emotion through basic features that cognition of object, visualization of space-time and by artistic method in the product. This study will examine the role and how to use lighting to express the proper sentiment based on the narrative of the work. Making research named "Lighting Research of 3D animated film which applying light features to express emotion" previous study and have to combine emotional vocabulary and emotion-based theory for classifying the emotional language that can be applied on 3D animation. And choosing most emotional scene from 3D animation for analyze how they used lighting to expressing emotions. Directors trying to show up about the light role through light method that matched perfectly with an emotional language. Expecting this research work of directing 3D animations light for expressing emotional feelings will be continue successfully.

• 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.

• (The)Study of the Eastern Classic
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• no.62
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• pp.231-262
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• 2016

The Jongmyo Shrine(宗廟) of Zhou dynasty was a king's main building where a diversity of rituals were held, such as 'the assembly ceremony between a king and vassals in the morning', and was also called as Taechim(太寢) Nochim(路寢) Jeongchim(正寢) and others. Before Zhou dynasty, the expressions of Taesil(太室) and Sesil(世室) were used, and especially the term of Taesil(太室) is found in the records of the early period of West Zhou. In "Seogyeong(書經)", not only the term of Nochim(路寢) but also the letter of 'chim(寢)' itself is not found at all, but the letter of 'sil(室)' appeared several times in the chapters of "Haseo(夏書)" "Sangseo(商書)" "Juseo(周書)" except for that of "Wuseo(虞書)". "Jwajowusa(左祖右社)" meaning that 'the Jongmyo Shrine(宗廟) which keeps the late king's mortuary tablet is established in the left, and Sajikdan altar(社稷壇) which enshrines a god of land and grains is established in the right' was first mentioned in the part of 'Janginyeongguk(匠人營國 : a master craftsman builds different national infrastructures, for instance, a palace and roads)' in "Donggwangogonggi(冬官考工記)" of "Jurye(周禮)". In addition, so-called 'Jwamyowusa(左廟右社)', that is, "Sajik(社稷) enshrining the god of land and grains is built in the right('右'), and the Jongmyo Shrine(宗廟) in the left('左'). (右社稷 左宗廟)" was mentioned as one of different duties of a Sojongbaek(小宗伯) in charge of ancestral rites, which was recorded in "Chungwanjongbaek(春官宗伯)" of "Jurye(周禮)". And it seems that had affected the mention of "Jwajowusa(左祖右社)" in "Donggwangogonggi(冬官考工記)" appeared thereafter. Many manners scholars including Jeonghyun(鄭玄) since Han dynasty interpreted 'Jwa(左 : left)' and 'Wu(右 : right)' here as the arrangement relation of left and right of Jongmyo(宗廟) and Sajik(社稷), but when it is interpreted as "helping(右=佑 : to help) to sacrifice to a god of land and grains in Sajik(社稷), and helping(左=佐 : to help) memorial ceremonies in Jongmyo(宗廟)." it can correspond with a 'Jongbaek(宗伯)''s duties. 'Jeonmyohuchim(前廟後寢)' is the term that began from the expression that "what's in front is called as an jongmyo shrine(宗廟) and what's back as a bedroom.(前曰廟 後曰寢)" in Jeonghyun(鄭玄)'s annotation explaining the chapter of "Hagwansama(夏官司馬)" in "Jurye(周禮)" and "Wolryeong(月令)" in "Yegi(禮記)". Chaeong(蔡邕), a figure in the same age as Jeonghyun(鄭玄), used the expression that "a court is placed in the front, and a bedroom in the back(前有朝 後有寢)." In the paper, two hypotheses were discussed about the theory about Jeonmyohuchim(前廟後寢). In one hypothesis, it expressed two facilities within a wall; 'a court in the front to deal with governmental affairs, and a comfortable interior space in the back.' In another hypothesis, it refers to two independent and separate buildings of 'an jongmyo shrine(宗廟) building in the front as the area of governmental meetings, and the residential building in the back as the residence area with family'.

• Journal of Life Science
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• v.26 no.9
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• pp.1027-1032
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• 2016

Antigen is substance causing disease derived from pathogen. Living organism has the immune system in terms of defense mechanism against antigen. Antigen is processed through several pathways such as phagocytosis, antibody action, complement activation, and cytotoxins by NK or cytotoxic T lymphocyte via MHC molecule. Lymph node (LN) is comprised of the complicated 3 dimensional network and several stromal cells. Fibroblastic reticular cells (FRC) are distributed in T zone for interaction with T cells. FRC produces the extra cellular matrix (ECM) into LN for ECM reorganization against pathogen infections and secretes homing chemokines. However, it has not so much been known about the involvement of the antigen process of FRC. The present report is for the function of FRC on antigen process. For this, FRC was positioned with several infected situations such as co-culture with macrophage, T cell, lipopolysaccharide (LPS) and TNFα stimulation. When co-culture between FRC with macrophage and T cells was performed, morphological change of FRC was observed and empty space between FRCs was made by morphological change. The matrix metallo-proteinase (MMP) activity was up-regulated by Y27632 and T cells onto FRC. Furthermore, inflammatory cytokine, TNFα regulated the expression of adhesion molecules and MHC I antigen transporter in FRC by gene chip assay. NO production was elevated by FRC monolayer co-cultured with macrophage stimulated by LPS. GFP antigen was up-taken by macrophage co-cultured with FRC. Collectively, it suggests that FRC assists of the facilitation of antigen process and LN stroma is implicated into antigen process pathway.

• Cartoon and Animation Studies
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• s.41
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• pp.133-152
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• 2015

Some artists and scientists in physics and animation originating from research on its form of expression thanks to the rapid development of the example in the late 20th century image production technology integrating existing media feature, perform a re-creation and pop culture content has been recognized as a key factor. animation of the modern emphasis is also commercial and artistic activities as show whether the artist can not be excluded that also target audience. The audience does not want only to receive offers simply 'seeing' and 'hearing' in the animation requires a more indirect mental met. the other side, the director should lead the audience to immerse myself in work as intended mystification induce the world. where a conflict occurs between the audience and the director and The director needs to have its troubleshooting point to 'Technology of the communication'. Which is reduced to 'How will tell,' is technology communication technologies that are abbreviated representations of animation director is accessible to the audience and it is a close relationship between the psychological aspect of audience. Because, the audience is reproduced in a limited space, but he called on the board of directors and the same time the screen, the audience located at reception and the director located at provide. It is given. led force is given to the director. for this reason, The director needs to pay attention to the psychological aspect of audience this can be explained based on psychoanalytic theory. In this paper, "How can you lie to the audience and the director is the same line?" put down logic that is the animation audience under the logic that takes place visually capture phenomenon "selective attention" and sub-concept of "goal-directed selection' and 'stimulus-driven capturel' for theory of psychology. also, Induction device to elicit selective attention of the audience accordingly, let's consider whether and how they apply in animation.