• Proceedings of the Korean Professional Engineer Association Conference
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• 1984.03a
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• pp.52-60
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• 1984

As far as we handle industrial products, the painting process is prerequisite; and the preparatory treatment of materials is, therefore, indispensable to the above process. However, it is a matter for regret that people are liable to overlook the importance the treatment of materials at the preparatory stage, giving themselves up to the surface of finished goods. The preparatory treatment of materials is like backstage personnel (operations) in dramatic performance; the performance cannot be successful without the support of backstage operations in surface treatment. The various methods which are being applied widely as preparatory treatment are as follow: (1) the method by using hand tools such as grinders, etc. (2) the method with blasting (3) the method with chemical coating (4) the method by getting rid of fatty substance with organic solvent The methods No. 1 and No. 2 are in use mainly for larger structures, and those No. 3 and No. 4, either singly or combined, are applied for mass-produced, smaller items (acid cleaning is applied for getting rid of rust, as the case may be). The method No. 3 is used mainly as anti-rust by forming zinc phosphate film on the surface of steel plate or enhancing the bonding power of paints by taking advantage of irregular surfaces of films. Recently are no the market steel plates treated directly with film-coating by omitting the process No. 3. Furthermore, those goods painted include not only nonferrous goods but plastics and elastomer. The present discourse describes the cleaning process by using the steam of organic acid, picked up from among No. 4, and its equipment applied.

• The Journal of the Korea Contents Association
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• v.13 no.1
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• pp.105-114
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• 2013

The purpose of this paper is to explain the operation and meaning of the narrative, which is one of the main principles for the contents construction, especially focusing on the concepts 'difference' and 'desire'. The classical aesthetic taught us that the differences between diverse characters and reality models are the effective strategy for the reading the story. But this paper focuses on the structural difference of the event (story) and performance (discourse) of narrative, which are regarded as the basic condition of narrative. This difference is to describe in terms of the media theory and psychoanalysis. This paper also seeks to interpret the recent korean film to exemplify that the creation of difference for the fulfillment of desire is the basic element of the narrative constitution.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.1
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• pp.297-306
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• 2024

At a specific juncture in industrial development, animation emerges as a product imbued with discernible features characteristic of the mechanical replication era. Through the integration of technology, it continually gives rise to postmodern cultural traits. Notably, the trajectories of postmodernism in China and Western Europe exhibit divergence. Following the reform and opening up, both postmodernism and modernism found acceptance and became interwoven. Chinese animated films, influenced by postmodernism, actively challenge traditional animation norms, exemplifying postmodern characteristics such as deconstruction, intertextuality, indeterminacy, collage, and diversity. This article endeavors to delve into the discourse surrounding postmodernism in both Western and Chinese contexts. It aims to scrutinize the manifestation of postmodern features, particularly with regard to ethnic elements, traditional mythological texts, and gender representations in Chinese animated films. Consequently, it becomes imperative to contemplate the affirmative adaptation and independent development of postmodernism within the unique Chinese milieu. Building upon an analysis of noteworthy traditional animated film genres and developmental trends in China, this study focuses on animated films from the 21st century, specifically Monkey King: Hero is Back, Big Fish & Begonia, Dahufa, White Snake and Nezha: Birth of the Demon Child. The paper seeks to explore the overarching characteristics of postmodernity reflected in the linguistic environment of postmodernism in China.

• The Journal of the Korea Contents Association
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• v.14 no.12
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• pp.607-617
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• 2014

This article aims to explain some academic subjects based on the film, and accordingly investigate how they are to be converged and then educate individuals. The reasons why should be chosen as a text are as follows: this film is said to be fictional, but based on historical fact. Then, it attracts national attention. Third, it induces the spectators to judge the value of conscience, law, and morals, through the trial process, for themselves and leads them to raise the awareness of the historical, and political conditions at the time. Last, but not least, it contributes to the discourse on various type of men in contemporary days, by dint of analysis on the main characters. The results of the research are listed below: most of all, literature education(Korean language) could be proceeded with the help of epic analysis on . Secondly, considering the film develops the story using political allegory as discussion, along with the historic situation in those days, learning on history and politics could be made possible. Third, the film could be undoubtedly used to conduct the education of law and morality, forming the argument on required law and morals corresponding with ideological circumstance. Finally, education on film analysis could be conducted, by means of examination of the main characters. The analysis on the major characters helps to teach what it would be like for people to become the right ones, by both representing the members of society and determining the quality of life and relationship.

• Journal of Korea Entertainment Industry Association
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• v.15 no.8
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• pp.181-191
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• 2021

The purpose of this study is to analyze the spatial structure of director Im Kwon-taek's film , which was released in 1997. The space of the film contains the character and characteristics of the characters, and allows us to understand the contemporary reality and external circumstances surrounding the characters. For this purpose, this study used Michel Foucault's concept of heterotopia. The concept of heterotopia defines the character of the era and provides implications for how capital, power, institutions and norms surrounding our lives are being visualized through space. Based on this understanding, this study first dealt with the theoretical considerations of Michel Foucault's concept of heterotopia and its meaning. And through this, we investigated the possibility that the space of the film can be defined as a heterotopia. Through the analysis of the film's dialogue, scenes, and editing, the space of the film was divided into a heterotopia of deviation, a heterotopia of resistance impossibility, and a heterotopia of boundaries. The meaning of the film obtained through this analysis is as follows. The woman in the film is passively represented and floating on the border of heterotopia. And the film represent history and memory at the same time, and presents a heterotopia as the arena of competition.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.461-482
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• 2008

The science fiction was established as a typical genre of the American popular culture by the monumental releases of two series: Star Wars and Star Trek. Based on the popular science discourse, these two series have functioned as an ideological apparatus for re-appropriating Frontierism which reflects the essential values of American myth. Arguably, the SF genre owes its success mainly to the increasing popularity of science during the 1960s and 1970s, which was well represented in the space project of NASA. This power of popular science, however, tended to weaken in the 1990s as the public interest in NASA's project gradually decreased. "Deep Space Homer," an episode of The Simpson's fifth season, reflects the changing attitude of the American audience toward the new American hero created in the SF series of popular science in the previous popular culture.

• Journal of the Korean Academy of Child and Adolescent Psychiatry
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• v.34 no.2
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• pp.112-116
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• 2023

Numerous films and TV series worldwide have depicted characters with autism spectrum disorder (ASD) and savant skills. This study describes the portrayal of ASD and savant skills in Korean films and dramas. Starting with the 2005 film Marathon, characters with ASD have been featured in five films and four dramas. Most portrayals were based on the diagnostic criteria and pathogenesis of ASD, as outlined in the DSM-5. Of the 10 characters with ASD in these films and dramas, seven were male and three were female, with seven of them possessing savant skills. In the future, caution and guidance on the general characteristics of ASD from experts should be provided with the release of ASD-based films and TV dramas in Korea; in addition, critiques and social discourse pertinent to the reality of ASD should be provided by people with ASD, their families, and relevant experts.

• The Journal of the Korea Contents Association
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• v.8 no.7
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• pp.161-173
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• 2008

Silmido [실미도 2003] captures the covered historical reality and describes the spectacular training process of the special army stationed at Silmido in vivid detail. As a result, a fictional space is turned into a reality film. The film shows ideological inconsistency of the critical view about the fascism of government authority and at the same time the political aid about government authority. The film creates dramatic and friendly effect through melodramatic and emotional exaggeration called sinpa about historical events to produce the pleasure of assimilation based on the trust of the audience. Here, individual assimilation is subjectivity achieved through the general sympathy coming from the tragic national discourse. Silmido appeals to the imaginary community not in a logical but in an emotional way. The spectacular action and realistic images are supported by national tragedy divided into the South Korea and the North Korea, and integrated sentimentalism to amplify the tragedy. Silmido tries to strengthen the tragic situation caused by the division ideology through this sentimentalism called sinpa. In contrast to the brutality of the relentless military regime, the sacrifice of good-hearted Silmido force members is heroically portrayed.

• Safety and Health at Work
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• v.8 no.4
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• pp.347-355
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• 2017

Background: The objective of this article is to make some analysis on the process of work and accidents occurring in slaughterhouses, evidenced in the Brazilian documentary film called Flesh and Bone. As such, it was necessary to discuss an alternative theoretical concept in relation to theories about health and safety at work. This alternative discussion focuses on the concepts of biopower and biopolitics. Methods: The use of audiovisual elements in research is not new, and there is already a branch of studies with methodological and epistemological variations. The Brazilian documentary Flesh and Bone was the basis for the research. The analysis of this documentary will be carried out from two complementary perspectives: "textual analysis" and "discourse analysis." Results: Flesh and Bone presents problems related to health and safety at work in slaughterhouses because of the constant exposure of workers to knives, saws, and other sharp instruments in the workplace. The results show that in favor of higher production levels, increased overseas market sales, and stricter quality controls, some manufacturers resort to various practices that often result in serious injuries, disposal, and health damages to workers. Conclusion: Flesh and Bone, by itself, makes this explicit in the form of denunciation based on the situation of these workers. What it does not make clear is that, in the context of biopolitics, the actions aimed at solving these problems or even reducing the negative impacts for this group of workers, are not efficient enough to change such practices.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.83-89
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• 2019

Zhang yimou's film "the shadow" adopts a lot of modern literary symbolic content in the story structure. The novel has been greatly modified, abandoning the setting of the original work and making up the historical background of the story, thus completing the discourse practice of aerial literature rather than historical literature. The film expresses the historical story poetically and even writes the personal mind. In this way, the audience's sense of substitution is increased, and a large number of traditional Chinese cultural symbols are adopted visually. In terms of clothing, the most traditional is sought, which advocates loyalty to history, and adds cultural connotation and depth. The audience can feel the bold and unfettered artistic creation spirit of the main creator, as well as the novel and unique visual expression style, which makes his works have both traditional visual perception and modern story content. The combination of traditional vision and modern drama forms a new visual and cultural experience.