• 비교문화연구
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• 제39권
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• pp.287-308
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• 2015

Biographical film is a genre narrativizing the actual person and history, and reproducing the character and history in a biographical film is in a dimension different from a film focused on a fiction. Discussion between these methods of narrative composition and image reproduction in a biographical film is also, in line with artistic/aesthetic problems and ethical/philosophical theses of the film text. This study discusses the phase of the way of reproduction of the actual person, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ in the biographical film, The Golden Era and the time she lived in a biographical film and how the audience's discussion of the film and socio-cultural discourse differ depending on their attitude towards the cinematic introspection of the text. The narrative structure, the method of image reproduction and cinematic devices of the film, The Golden Era are completely off the point of the general format of the traditional biographical film. In The Golden Era, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and the history which she lived in did not revive depending on an omniscient subject's selective statement and meta-film structure. Ann Hui removed general, mythic images of $Xi{\bar{a}}o$ $H{\acute{o}}ng$ formed in the field of traditional Chinese culture and reproduced her through multilateral visions of a real, fictional narrator. Each spectator's judgment and interpretation of the film intervene in the multi-layered and sparse descriptions of the actual person's images and the era of the characters. Through this, it is possible to approach the uniqueness and authenticity a historical character, $Xi{\bar{a}}o$ $H{\acute{o}}ng$ and to have an opportunity of multi-layered reflection on how to secure a critical distance and make a perception in historical judgment.

• Journal of Biosystems Engineering
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• 제16권2호
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• pp.178-187
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• 1991

In order to provide fundamental data for the achievement of safe environmental condition, investigation of the actual state of the nutriculture practices in Korea was carried out. The result obtained are summarized as follows. 1. Cultivation area of nutriculture was 6 ha and culture types included deep flow technique(43%), nutrient film technique(45%), gravel culture(6%), chaff charcoal culture(3%) and rockwool culture(3%). 2. Greenhouses were mostly made of pentite pipe frames and covered by polyethylene film, and culture beds were handy combination of cement blocks, concrete and styrofoam, which were not standard products. 3. Development of nutriculture system appropriate to our actual circumstances and improvement of establishments are required. 4. Since there was not farmhouse that performs the environmental measurement and environmental conditions of cultivation were very limited. sensor applied environmental control technology of nutriculture should be developed.

• 중국학논총
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• 제61호
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• pp.301-321
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• 2019

This is the premise that the language's cultural understanding must preceded the process in order to facilitate the communication of foreign languages. In order to understand the contemporary social culture of Korea and China, we sued the film 'Simple Life 'to conduct Chinese cultural education. For this, we first selected the theme of the culture, which is an issue in the modern society that appears in the film. Using the ambassador in the movie 'Simple Life",questionnaires and classes based on the culture selected for the subject were sometimes divided among the students of the Korean and China, and sometimes shared opinions and discussions and communication. The result of such a class progression are as follows: understanding the context of the culture and the use of movies can help you communicate smoothly.

• 트랜스-
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• 제14권
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• pp.123-155
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• 2023

본 논문은, 일본의 커뮤니티 시네마의 역사적 발전과정에 대한 문헌고찰을 바탕으로 영화공동감상을 기반으로 한 사회적 가치창출과정의 특징을 분석한다. 일본에서는 영상매체의 디지털화, 매체공간의 개인화가 증가한 21세기 현대사회에서도 비상업극장 및 비극장상영에서 공동감상의 문화가 유지되고 있다. 그리고 이러한 감상환경을, '커뮤니티 시네마'라는 이름으로 통합하여 지원하는 일본 커뮤니티 시네마 센터도 설립·운영되고 있다. 연구의 결과, 커뮤니티 시네마의 특징은 다음과 같다. 첫째, 비극장상영 단체나 감상단체가 시민과 협력하여 영화관을 설립·운영한다. 둘째, 공동 감상을 운영하는 단체나 기관의 대규모 연계를 통해 영화문화를 이해하고 영화문화운동에 참여할 관객을 육성하는 이론적 · 실천적 · 참여적 학습기회를 만든다. 셋째, 공동감상을 기반으로 하여 관객이 주도하는 영화문화 환경을 정비하여 공동성을 실감하는 사회적 장을 만들고 나아가 영화와 사회문제해결을 융합하는 영화의 사회적 활용을 도모한다.

• 국제지역연구
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• 제22권1호
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• pp.237-257
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• 2018

고급문화와 대중문화의 구분이 점차 약해지고, 취향을 중심으로 한 새로운 기준이 제시되고 있다. 이에 따라 대중적 텍스트로서 콘텐츠에 대한 분석도 일반적 해석과 더불어 취향문화적 관점에서 이루어져야 한다. 본 논문은 스포츠영화를 기존의 보편적 분석에서 탈피하여 취향 문화의 관점에서 재해석하고자 했다. 이를 위하여 축구를 소재로 한 영화 <골!>과 <비상>을 선정하고 스포츠영화로서의 보편적 관점과 축구를 중심으로 형성된 취향문화의 관점에서 두 영화를 분석하고 비교했다. 두 영화는 모두 성실한 노력이라는 개인의 태도를 중요시했다. 이는 기존의 스포츠영화 분석에서 말하는 이데올로기 도구로서의 기능이라 볼 수 있다. 취향문화의 관점에서 두 영화를 재분석하면, <골!>은 스타선수의 탄생을 따라가며 국경과 인종을 넘어 축구를 중심으로 한 세계를 보여준다. 반면 <비상>은 K리그 시민구단을 통해 시스템에 대한 불신과 그 속에서도 최선을 다하는 개개인에 대한 신뢰를 강조한다. 취향문화적 관점을 통해 동일한 대중적 텍스트에서 더 다양한 의미를 파악할 수 있다.

• International Journal of Advanced Culture Technology
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• 제10권2호
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• pp.181-186
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• 2022

In this paper, we examine the shortening of the theatrical window whereby films play at theaters for 90 days as one of the most portentous issues that could reshape the Hollywood film industry. We first examine the windows system that protected the status of movie theaters and the studios' attempt to shorten the theatrical release to create a premium VOD window in response to the declining revenue of DVDs after 2007 and the rise of streaming services. We then look at some of the major disruptions in distribution COVID-19 brought about. We also explore the shortening of the theatrical release in the wake of the pandemic and shows the changes in the theatrical release, along with the expansion of streaming services, raise questions over the long-held primacy of the theatrical release and the definition of film with the theatrical release as its part. From this, we highlight Hollywood at the crossroads of major changes with its future less certain than ever before.

• 한국토양비료학회지
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• 제47권6호
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• pp.510-517
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• 2014

The purpose of this study was to analyze microbial hazards for cultivation environments and personal hygiene of strawberry and tomato farms at the growth and harvesting stage. Samples were collected from thirty strawberry farms and forty tomato farms located in Korea and tested for Staphylococcus aureus and Bacillus cereus. To investigate the change in the distribution of the S. aureus and B. cereus, a total of 4,284 samples including air born, soil or medium, mulching film, harvest basket, groves and irrigation water etc. were collected from eight strawberry farms and nine tomato farms for one year. As a result, total S. aureus and B. cereus in all samples were detected. Among the total bacteria of strawberry farms, S. aureus (glove: $0{\sim}2.1Log\;CFU/100cm^2$, harvest basket: $0{\sim}3.0Log\;CFU/100cm^2$, soil or culture media: 0~4.1 Log CFU/g, mulching film: $0{\sim}3.8Log\;CFU/100cm^2$), B. cereus (glove: $0{\sim}2.8Log\;CFU/100cm^2$, harvest basket: $0{\sim}4.8Log\;CFU/100cm^2$, soil or culture media: 0~5.3 Log CFU/g, mulching film: $0{\sim}4.5Log\;CFU/100cm^2$) were detected in all samples. The total bacteria of tomato farms, S. aureus (glove: $0{\sim}4.0Log\;CFU/100cm^2$, harvest basket: $0{\sim}5.0Log\;CFU/100cm^2$, soil or culture media: 0~6.1 Log CFU/g, mulching film: $0{\sim}4.0Log\;CFU/100cm^2$), B. cereus (glove: $0{\sim}4.0Log\;CFU/100cm^2$, harvest basket: $0{\sim}4.3Log\;CFU/100cm^2$, soil or culture media: 0~5.9 Log CFU/g, mulching film: $0{\sim}4.7Log\;CFU/100cm^2$) were detected in all samples. The contamination of S. aureus and B. cereus were detected in soil, mulching film and harvest basket from planting until harvest to processing, with the highest count recorded from the soil. But S. aureus and B. cereus were not detected in irrigation water samples. The incidence of S. aureus and B. cereus in hydroponics culture farm were less than those in soil culture. The amount of S. aureus and B. cereus detected in strawberry and tomato farms were less than the minimum amount required to produce a toxin that induces food poisoning. In this way, the degree of contamination of food poisoning bacteria was lower in the production environment of the Korea strawberry and tomato, but problems can be caused by post-harvest management method. These results will be used as fundamental data to create a manual for sanitary agricultural environment management, and post-harvest management should be performed to reduce the contamination of hazardous microorganisms.

• KSBB Journal
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• 제13권2호
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• pp.209-213
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• 1998

The characteristics of de-emulsification of pertroleum emulsion by Nocardia amarae were investigated. Insoluble medium containing n-hexadecane was more effective than soluble medium in de-emulsification of emulsion containing diesel and bunker C as the organic phase. Emulsion made by the addition of xanthan or bioemulsifier was de-emulsified by N. amarae, and longer culture age was effective. In low viscosity range, organic phase with longer carbon chain was more effective. The contact, angle between bacterial film and water droplet in air increased from 16 degree for 4 day culture age to 26 degree for 15 day. The contact angle between bacterial film and water droplet in kerosene, n-heyxane or n-hexadecane also increased to greater than 100 degree after 3 day culture age. The hydrophobicity of bactgerial film increased according to the culture age.

• 비교문화연구
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• 제26권
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• pp.405-444
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• 2012

This paper is based on the view that film should be conceived as a form of cultural practice whose meaning is always in the process of being produced within diverse socio-cultural contexts and aims to examine the ways in which the meaning of Korean film is (re)mediated or received in diverse cultural contexts outside the country. In this paper, we employ two theoretical grounds. Firstly, it positions itself in line with the audience studies within the field of cultural studies where the audience is conceived as active agents who produce the meaning of a popular culture text. The recruitment of the theoretical propositions from the audience studies enables recognition of the significance of the reception in film practice which recently seems to be oriented on production and distribution. Secondly, we conceive transnationality of film as that which is being produced in the process of transaction between the film and the audience, that is to say, transnationality is a form of discourse that emerges upon cultural interaction. The empirical work involves examination of a set of reviews of four films--Chihwaseon, Oldboy, Thirt, Poety--that have been published in daily newspapers and some popular film magazines in the U. S., the U. K. and France. Through the analysis of the film reviews, we identify four interpretive schemes or rather discourses recruited via which the Korean films are approached and understood: auteurism, formalism, universal themes, emotional response. We propose that these four kinds of discourse provide a common ground for the audience from different cultural backgrounds to understand Korean film. Furthermore, we also suggest that transnationality of Korean cinema needs to be reconsidered in terms of the reception as the audience from different socio-cultural backgrounds should be understood as active agents who are capable of engaging in Korean cultural texts such as film in their own way producing various meanings and these are also constituent of the meaning of the cultural texts.

• 한국콘텐츠학회논문지
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• 제14권2호
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• pp.94-102
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• 2014

김기덕 감독의 데뷔작은 <악어>(1996)이다. 이 영화는 새로운 캐릭터와 에피소드로 주류영화의 흐름을 무시하고 있다. 그의 영화 속에 나타나는 김기덕의 정서는 일상생활과 상식을 벗어나 그의 정서는 엽기적인 감성과 맞닿아 있다. 그를 한국영화문화의 테러리스트라고 명명하는 이유가 여기에 있다. 본 연구는 김기덕 작품세계에 나타난 영상이미지의 알레고리를 김수남의 '한국작가주의론'의 방식으로 재평가하고자 한다. 영화작가의 성장배경과 인생관 그리고 등장인물의 이념이 만들어낸 작품세계가 전달하는 알레고리적 주제의식을 다시 읽는다. 김기덕은 그의 영화를 통해 공간, 색채, 물, 동의반복의 영상 수사미학으로 관객과 소통하고 있으나 그의 알레고리는 사실 사회성이나 영화미학을 강조하기 보다 개인사적 욕구와 내면의 의미를 표출하고 있음이 확인된다.