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

• Cartoon and Animation Studies
• /
• s.16
• /
• pp.257-272
• /
• 2009

I analysis Alfonso Cuaron's comparing it with Charles Dickens' the original novel and David Lean's . In order to evaluate film which is based on classic novel, formal difference between film and novel, people's preference in those days and director's interpretations should be considered besides how the film follow the original novel faithfully. Regarding to these valuation basis, David Lean's film is true to the original novel and same time successful to add director's interpretation by using Mise en secne in it. Alfonso Cuaron is also succeed in filming well-made, people-like work by modifying the original novel with the convention of melo-drama genre and by using modern film form without breaking Hollywood classic film grammar.

• Journal of Digital Convergence
• /
• v.12 no.9
• /
• pp.325-333
• /
• 2014

The purpose of this research is to analyse the structural aspect of storytelling in contemporary cinema which is focused on the Apichatpong Weerasethakul's film. The structural/materialist filmmakers insisted the formal experiment of film form itself and the methodology to create meaning by using it. Apichatpong Weerasethakul accepted and recreated aesthetic result of the structural/materialist film to transform his own cinematic style. As a result, he expanded his film aesthetic to post-modern film aesthetics. For this, he created the structure of film by using diegetic and non-diegetic sound and image creatively. The conventional storytelling method of contemporary cinema is based on the classic theory of 'poetica' of Aristoteles, which creates illusory diegesis of cinema. but Apichatpong Weerasethakul seeks and re-constructs storytelling methodology based on the product of structural/materialist film.

• Cross-Cultural Studies
• /
• v.26
• /
• pp.405-444
• /
• 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.

• Fashion & Textile Research Journal
• /
• v.4 no.2
• /
• pp.198-202
• /
• 2002

Degummed silk from Bombyx mori was dissolved in 9.3M lithium bromide solution. The regenerated silk fibroin films were completely ${\alpha}$-randomcoil type as shown by x-ray diffraction and infrared spectroscopy. The structural changes in silk fibroin induced by immersion into methanol and dilute hydrochloric acid and its photo-yellowing effect was studied. The changes of crystallinity were measured by infrared spectrometer. Yellowness index caused by ultraviolet irradiation were observed as a function of the structural change on silk fibroin. On treatment with methanol, ${\alpha}$-randomcoil silk film is converted to the ${\beta}$-form structure. After the treatment of hydrochloric acid on ${\beta}$-form structure in silk induced by immersion into methanol, ${\beta}$-form in silk fibroin is partially decreased. Crystallization owing to ${\beta}$-form transition reduced the initial yellowness index by ultraviolet irradiation. A little ${\beta}$-form structure in silk fibroin increased the initial yellowness in comparison with more ${\beta}$-form structure.

• Proceedings of the Korea Association of Crystal Growth Conference
• /
• 1998.09a
• /
• pp.33-33
• /
• 1998

Invisible charged clusters are suggested to form in the gas phase and to become the growth unit in the thin film process. Similar suggestion had been made by Glasner el al. in the crystal growth of KBr and KCL in the solution where the lead ions were added. The charged cluster model, which was suggested in the diamond CVD process by our group, will be extended to the other thin film processes. It will be shown based on both the theoretical analysis and the experimental evidences that the charged clusters are formed in the gas phase and become the growth unit of the crystal in the thin film process.

• Journal of the Korean Society for Heat Treatment
• /
• v.31 no.3
• /
• pp.111-119
• /
• 2018

We report the post-annealing effect of Sn doped ZnO (ZnO:Sn) thin film grown on sapphire (001) substrate using radio-frequency powder sputtering method. During thermal annealing in a vacuum atmosphere, the ZnO:Sn thin film is transformed into a porous thin film. Based on X-ray diffraction, scanning electron microscopy, and energy dispersive X-ray analyses, a possible mechanism for the production of pores is presented. Sn atoms segregate to form clusters that act as catalysts to dissociate Zn-O bonds. The Zn and O atoms subsequently vaporize, leading to the formation of pores in the ZnO:Sn thin film. We also found that Sn clusters were oxidized to form SnO or $SnO_2$ phases.

• Lingua Humanitatis
• /
• v.2 no.1
• /
• pp.259-284
• /
• 2002

In the history of cinema, Sergei Eisenstein is always considered as a pioneer to conceive of cinema primarily as a form of expressing thought rather than as a representation of reality. For him, montage is the indispensable method to construct an open totality of thought and image in movement. It functions as a basic thread running through two poles of filmic composition, that is, the organic and the pathetic. The organic is concerned with the composition of the film structure as a whole, while the pathetic is involved in an ongoing process of registering a leaping point in various filmic sequences. The ultimate goal of montage for Eisenstein is to create the cinema of ideas which can synthesize both emotional and intellectual elements in the filmic composition. In his system of intellectual cinema, the identity of image and thought externalizes the sensory-motor unity of nature and man along the ascending spiral of centrifugal force of the film. Indeed, in both theory and practice, Eisenstein firmly argues that nature not only provides basic laws for the organic composition of the film, but also expresses itself in the form of the whole which brings out the experience of totality in the film text, the audience, and surely Eisenstein himself.

• Fire Science and Engineering
• /
• v.25 no.3
• /
• pp.107-112
• /
• 2011

We have considered the fire hazard by the static in anti-static film manufacturing factory on this study. Solvents that the flash point as ethanol, methanol and iso-propyl alcohol is low are used on the manufacturing process of anti-static film, and the minimum ignition energy of these solvents is ignited easily despite less discharge energy form 0.16 mJ to 0.65 mJ. After the static electric potential produced on each of the manufacturing plants was measured, electric potential on films of paste board is measured form 17 kV to 20 kV. But this exceeds 5 kV, which is electrifiable of objective of nonconductor for fire & explode protection. Therefore, We figure out the fire hazard was high by a static discharge in anti-static film manufacturing factory.

• Electrical & Electronic Materials
• /
• v.9 no.7
• /
• pp.674-679
• /
• 1996

Using the home made Kuhn type LB (Langmuir - Blodgett) film's deposition apparatus, We measured the displacement current of monolayer film on the water surface. The obtained displacement current had each different pattern by the kind of solution while varying pressure of the monolayer. Solution of 4 - octyl - 4' - (5 - carboxyl - pentamethyleneoxy ) - azobenzene (8A5H) and stearic acid (CH$_{3}$(CH$_{2}$)$_{16}$COOH) (C18) were spreaded at the air water interface respectively, and the current induced by the dynamic behavior of molecules were pressed by barrier. Displacement current of 8A5H measured small current than C18 at same condition and it was positive direction when increasing pressure but it was negative direction when decreasing pressure. Also, Two patterns of displacement current were symmetrical form and appeared repeatedly. The C18 has unsymmetrical form of displacement current and weak current when decreasing pressure (expansion). The C18 molecules have two distinct peak values of displacement current that show that the orientations of molecules were changed largely at this points. From these results, we obtained that the 8A5H has more elasticity than the C18.8.C18.