Analysis of Film 〈Obaltan〉 focused on Narratology's Viewpoint (서사학적 관점으로 분석한 영화〈오발탄〉의 서사구조 연구)
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- The Journal of the Korea Contents Association
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- v.11 no.11
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- pp.111-119
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- 2011
Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie
As an animation educator at Mahidol University International College, Bangkok, for eight years I have been in a privileged position to be educating a small section of a new generation of Thai animators. Thailand has had little animation experimentation of their own and pre-internet had limited access to such diversity so I have attempted to bring some of the wealth of animation history, in particular British and European, as this is my background, into the classroom. In particular my teaching aim has been to introduce various possibilities to the choices of medium, styles and textual narratives that early (and current) experimental and independent animators have explored. Since the release of the first commercial feature film, Khun Kluay 2006, the Thai animation industry has gone through various highs and lows in the commercial sector, building a skilled workforce, many of whom trained and worked abroad then returned. Now there is strong evidence of an independent animation starting to emerge. In a continuation to my research on Thai Animation this paper will analyze selected independent works in more detail, exploring the themes, style and technology used. Whilst also acknowledging the possible mis- interpretation as that this is coming from the perspective of an outsider whose cultural language and interpretation may transcend the creators' given experiences and add alternative interpretation. The aim will be to contextualize the content, ideas and cultural perspective and bring more Thai works into the gaze of animation studies academics
Radiosurgery requires integral procedure where special devices and computer systems are needed for localization, dose planning and treatment. The aim of this work is to verify the overall mechanical accuracy of our LINAC and develop dose calculation algorithm for LINAC radiosurgery. The alignment of treatment machine and the performance testing of the entire system were extensively carried out and the basic data such as percent depth dose, off-axis ratio and output factor were measured. A three dimensional treatment planning system for stereotactic radiosurgery has been developed. We used an IBM personal computer with C programming language (IBM personal system/2, Model 80386, IBM Co., USA) for calculating the dose distribution. As a result, deviations at isocenter on gantry and table rotation for our treatment machine were acceptable since they were less than 2 mm. According to the phantom experiments, the focusing isocenter were successful by the error of less than 2 mm. Finally, the mechanical accuracy of our three dimensional planning system was confirmed by film dosimetry in sphere phantom.
The end of the 20th century, along with the popularity of new media technology and the rise of new media art, dance as a visual art, and body language art, has the features of more and more rich and changeful. In today's Internet booming new media environment, many different fields, such as film and theater, computer technology, digital art, etc.) with its commonness and characteristics of all kinds of interaction between the creation, produced a new interdisciplinary research with theoretical model. When cross-border interactions between various areas become a hot topic at the same time, the traditional form of dance performances are also seeking new breakthrough. Canada's famous social psychologist McLuhan believes that modern is retrieving lost over a long period of time "overall" feel, return to a feeling of equilibrium. The audience how to have the characteristics of focus on details of visual art back to the "overall" feel worthy of study. At the same time, the new media in today's digital dance teaching in colleges and universities dancing education remains to be perfect and popular, if continue to use the precept of the traditional teaching way blindly, so it is difficult to get from the development of the current domestic dance overall demand. In this paper, the main body is divided into two parts, the first chapter is the study of image device dance performance art, the second chapter is the research of digital dance teaching application system, thus further perspective of media technology to explore dance art crossover practice under the new media environment and mode of transmission.
China has had many excellent Chinese-style animation since the 1950s. These animations are of distinctive Chinese national characteristics. They have won many awards both at home and abroad, such as "Feelings of Mountains and Waters", "Uproar In Heaven", "Why is the Crow Black-Coated" and so on. But nowadays, Chinese animations that mimics Japanese and American animation are very often, and there are few animation works with rich traditional Chinese culture. There are some works in the name of Chinese style, but they have not been fully accepted by the audiences. If one wants to create animated works of Chinese style, the author must have an in-depth understanding of Chinese traditional and folk art. Animation can not be designed only on the surface. This paper mainly studies the traditional five color concept in China and its application in animation. The purpose is to provide some references to differentiate Chinese animation from other countries in terms of style and color. The main content of this paper is to understand the concept and history of Chinese traditional five color views, and to know that this color system has reflected the ancestors' concept of nature and society. On the basis of five monochromatic colors, red, yellow, green, white and black, it is a kind of complex color concept that has been developed and perfected continuously after a long period of accumulation and precipitation in the practice of life. It is the theoretical basis of Chinese traditional color system and a complete set of historical, cultural, philosophical and religious theories. Finally, this paper analyzes the colors and their symbolic meanings of the main roles in "Uproar In Heaven", a color long animation produced by Shanghai Animation Film Studio, including Sun Wukong, the Jade Emperor and Na Zha. Color is the first visual language. The use of color symbols to express the inner feelings, status, good and evil of the characters will affect the audience's emotions, behaviors and opinions imperceptibly. The traditional Chinese five color concept has gone through such a long history, and its symbolic meaning has a more profound impact on Chinese people. Applying the color concept and symbolic meaning of Chinese traditional five color concept will further highlight the personalities and emotions of the roles in Chinese style animations. This paper takes the five-color view as the theoretical basis, and through the analysis of cartoons with traditional Chinese color, the author finds ways to flexibly use traditional Chinese culture.
Cartoons and Animation are convergent arts created with a composite application of language arts described in the form of literary texts and sounds, plastic arts visualized in the form of artistic paintings, and film arts produced in the form of moving pictures. An academic university major in cartoons and animation studies established in late 20th century however, did not satisfactorily meet the needs in academic research and development and the free expression of artistic creation was limited. In order to systematize the major in cartoons and animation studies, an convergent approach to establish and clarify following are in demand : the terms and definitions, the historical developments, the research areas and methods, the major education and related jobs and start-ups. New culture and arts industries including cartoons, animation, moving images, and games contents are not yet listed in the industries listing service jointly provided online by the portal site Naver.com and Hyung-Seol publishing company. Above all, cartoons and animation are inseparably related to each other that even if one uses the term separately and independently, the meaning may not be complete. So a new combined term "Animatoon" can be established for the major in cartoons and animation studies and also used for its degree with concentrations of cartoons, animation, moving images, games, and etc. In the Introduction, a new combined term Animatoon is defined and explained the use of this term as the name of the major and degree in cartoons and animation studies. In the body, first, the Historical Developments classified Animatoon in the ancient times, the medieval times, and the modern times and they are analyzed with the help of esthetics and arts using examples of mural frescos, animal painting, religion cartoons, caricatures, cartoons, satire cartoons, comics, animation, 2 or 3 dimensional webtoons, and K-toons. Second, the Research Areas of Animatoon reviewed the theories, genres, artworks, and artists and the Research Methods of Animatoon presented the curriculum that integrated the courses in humanities, science technologies, culture and arts, and etc. Third, the Major Education considered Animatoon education in children, young adults, students of the major and the Related Jobs and Start-Ups explored various jobs relating to personal creation of artwork and collective production of business-oriented artwork. In the Conclusion, the current challenges of Animatoon considered personalization of the artists, specialization of the contents, diversification of the types, and liberalization of the art creation. And the direction of improvement advocated Animatoon to be an academic field of study, to be an art, to be a culture, and to be an industry. The importance of cartoons and animation along with videos and games rose in the 21st century. In order for cartoons and animation to take a leading role, make efforts in studying Animatoon academically and also in developing Animatoon as good contents in the cultural industries.
Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.
This paper focuses on Alain Resnais's representative works
The wall shear stress in the vicinity of end-to end anastomoses under steady flow conditions was measured using a flush-mounted hot-film anemometer(FMHFA) probe. The experimental measurements were in good agreement with numerical results except in flow with low Reynolds numbers. The wall shear stress increased proximal to the anastomosis in flow from the Penrose tubing (simulating an artery) to the PTFE: graft. In flow from the PTFE graft to the Penrose tubing, low wall shear stress was observed distal to the anastomosis. Abnormal distributions of wall shear stress in the vicinity of the anastomosis, resulting from the compliance mismatch between the graft and the host artery, might be an important factor of ANFH formation and the graft failure. The present study suggests a correlation between regions of the low wall shear stress and the development of anastomotic neointimal fibrous hyperplasia(ANPH) in end-to-end anastomoses. 30523 T00401030523 ^x Air pressure decay(APD) rate and ultrafiltration rate(UFR) tests were performed on new and saline rinsed dialyzers as well as those roused in patients several times. C-DAK 4000 (Cordis Dow) and CF IS-11 (Baxter Travenol) reused dialyzers obtained from the dialysis clinic were used in the present study. The new dialyzers exhibited a relatively flat APD, whereas saline rinsed and reused dialyzers showed considerable amount of decay. C-DAH dialyzers had a larger APD(11.70
The wall shear stress in the vicinity of end-to end anastomoses under steady flow conditions was measured using a flush-mounted hot-film anemometer(FMHFA) probe. The experimental measurements were in good agreement with numerical results except in flow with low Reynolds numbers. The wall shear stress increased proximal to the anastomosis in flow from the Penrose tubing (simulating an artery) to the PTFE: graft. In flow from the PTFE graft to the Penrose tubing, low wall shear stress was observed distal to the anastomosis. Abnormal distributions of wall shear stress in the vicinity of the anastomosis, resulting from the compliance mismatch between the graft and the host artery, might be an important factor of ANFH formation and the graft failure. The present study suggests a correlation between regions of the low wall shear stress and the development of anastomotic neointimal fibrous hyperplasia(ANPH) in end-to-end anastomoses. 30523 T00401030523 ^x Air pressure decay(APD) rate and ultrafiltration rate(UFR) tests were performed on new and saline rinsed dialyzers as well as those roused in patients several times. C-DAK 4000 (Cordis Dow) and CF IS-11 (Baxter Travenol) reused dialyzers obtained from the dialysis clinic were used in the present study. The new dialyzers exhibited a relatively flat APD, whereas saline rinsed and reused dialyzers showed considerable amount of decay. C-DAH dialyzers had a larger APD(11.70