• Cartoon and Animation Studies
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• s.46
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• pp.151-179
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• 2017

The purpose of this study is to analyse the characteristics of the 1920s and 1930s to analyze the emotions of laughter in the popular culture, This period, such as the style of comic books, tools, and textures, has been influenced by the influence of the eodi, and it is in its way to establish the aesthetic aesthetics of the colonial Joseon Dynasty. In the pop culture of the 1920-30s, laughter was a new feeling in the gloomy atmosphere of colonial rule. It was the comic media that showed the sensation to the public, owned it, and injured it. Also, the comic book was an important period in which comic books were produced to produce quantitative and qualitative growth. The study explored how the comics interacted with other media in the 1920s and 30s. And the study analyzed what was selected in there. This can quickly explain how the comics gained, or how they obtained them. This shows how the comics gained, in a way, how they obtained laughter.

• The Journal of Art Theory & Practice
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• no.5
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• pp.197-215
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• 2007

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment ; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女) ; and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.20 no.3
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• pp.168-175
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• 2019

The purpose of this paper is to examine the characteristics of organic relations according to the characteristics of space and place in which human activities are spreading. The diffusion of various human experiences and the interaction of space and place that form a mutual construction network create momentum for expanding individual or collective experiences. The space and place that lead to the interactions of human activities are expressed in various ways. Through the domestic travel program especially, the ways of expressing space and place are spreading as various "fields of experience." The composition and the expression system of a travel program is transformed into a subject of thought, not a mere experience of space and place through the formation of a "field of experience" that can be thought out and thought of as an existing travel style. Therefore, in this study, we examine the characteristics of the MBC Plus channel from a socio-cultural perspective, expressed through the experience of space and place characteristics expressed through a travel program. The result of an analysis of story development composition for this study shows that the experience of space and place minimizes the boundaries of various cultural discounts according to their relationships to food and communication. In addition, the analysis results of a three-way communication structure show that the emotional code of the audience is maximized through the process of maximizing the effect of reality, and minimizing the gap between the cultural differences and the boundaries through the empathic situation and the empathic subject.

• Journal of Broadcast Engineering
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• v.25 no.6
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• pp.861-869
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• 2020

We introduce the application that automatically makes several images stored in user's device into one video by using the different climax patterns appearing for each film genre. For the classification of the genre characteristics of movies, a climax pattern model style was created by analyzing the genre of domestic movie drama, action, horror and foreign movie drama, action, and horror. The climax pattern was characterized by the change in shot size, the length of the shot, and the frequency of insert use in a specific scene part of the movie, and the result was visualized. The model visualized by genre developed as a template using Firebase DB. Images stored in the user's device were selected and matched with the climax pattern model developed as a template for each genre. Although it is a short video, it is a feature of the proposed application that it can create an emotional story video that reflects the characteristics of the genre. Recently, platform operators such as YouTube and Naver are upgrading applications that automatically generate video using a picture or video taken by the user directly with a smartphone. However, applications that have genre characteristics like movies or include video-generation technology to show stories are still insufficient. It is predicted that the proposed automatic video editing has the potential to develop into a video editing application capable of transmitting emotions.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.45-54
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• 2021

Jeong Sun-Ah built up her performance career for twenty years with bold and energetic acting and solidified her status as a leading actress of Korean musical since her debut. To benefit from the value of her experience this study performed an in-depth interview with her, applying the Theory of "Projection" and "Back-projection", which are the psychological principles of acting, and derived "acting(entering the roles)" and "de-acting(leaving the roles)" techniques. As result, Her acting mechanism involved emptying her ego, embodying a persona by projecting the role created by intensive exploration of materials like previous performance, film of the same title, original novel, and script, and then getting the ego back by back-projecting through dynamic activities such as overseas travel and dance. She pre-studied the roles by physically visiting sites that are important to the characters. She was unique in that she pursued a difference by changing vocal trainers for each musical production and undertook more intense physical training than vocal practice to achieve powerful singing performance. In most of her works (75%), she suffered from aftereffects such as depression, narcissism, hysteria, and insomnia due to disorder caused by breaking away from the roles. However, she relied on self-help and alternatives are needed in the future such as reinforcement of expert counselling. Jeong Sun-Ah appeared on an average of 1.6 productions per year, practiced for an average of 1.7 months, and performed for an average of 3.9 months with an average of 100 days of break between productions. Her performance record from this research demonstrates her constant preparation and passion, as well as the know-how of reserving and distributing energy. So, it has a valuable implications for acting education and self-management of actors and actress.

• Journal of Fisheries and Marine Sciences Education
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• v.27 no.4
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• pp.1084-1091
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• 2015

Aquaculture of olive flounder started in the middle of 1980's and now farming has been taken place in many places along the coastal line in Korea. The taste of olive flounder has a good chewy texture because of high collagen content, low fat content, so it is popular for sliced raw fish. Olive flounder is popular among Koreans but the consumption pattern is uniformly so as to be used as sliced raw fish but not other ways. So, now there needs to develop high valued-processed food using olive flounder. This study was set to investigate the processing of terrine by using olive flounder, in which terrine is French style meat loaf that is well favored around the world. In this study, terrine was prepared by chopping olive flounder meat with 39 g egg white and 10 mL fresh cream (per 50 g fillet) and then seasoned with 5 mL lemon juice, 5 mL brandy, 0.05 g salt and 0.05 g pepper. The 25 g of dough was placed on a vinyl wrap, put with 2 g cheese, and layered an another 25 g dough, and then rolled up and wrapped by aluminium foil. Two different cooking methods were used for terrine processing in this study. Terrine-1 was cooked by vacuum sealed in polyethylene film ($20{\times}30{\times}0.05mm$) after boiling for 5 min and stored at $-20^{\circ}C$ for 7 days. Terrine-2 was prepared by vacuum sealed in polyethylene film ($20{\times}30{\times}0.05mm$) and stored at $-20^{\circ}C$ for 7 days. After 7 days, Terrine-1 was thawed and then heated up in microwave for 2 min (Sample-1), while Terrine-2 was thawed and then boiled in water for 5 min (Sample-2). Viable bacterial count, chemical composition, pH, salinity, hardness, TBA, free amino acid content, and sensory evaluation were measured for both Sample-1 and Sample-2. Especially, the scores of sensory evaluation of Sample-2 is slightly higher than that of Sample-1. On the other hand, there were no significant differences on color, odor, taste, texture, and overall acceptance between Sample-1 and Sample-2.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• Korean Journal of Organic Agriculture
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• v.24 no.4
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• pp.719-733
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• 2016

This study was carried out to investigate the effect of no-tillage on sequential cropping supported from recycling of first crop ridge on the productivity of crop and physical properties of soil under green house condition. This study is a part of "No-tillage agriculture of Korea-type on recycled ridge". From results for distribution of soil particle size with time process after tillage, soil particles were composed with granular structure in both tillage and no-tillage. No-tillage soil in distribution of above 2 mm soil particle increased at top soil and subsoil compared with tillage soil. Tillage and one year of no-tillage soil were not a significant difference at above 0.25 mm~below 0.5 mm, above 0.5 mm~below 1.0 mm, and above 1.0 mm of water-stable aggregate. Two years of no-tillage soil was significantly increased by 8.2%, 4.5%, and 1.7% at above 0.25 mm~below 0.5 mm, above 0.5 mm~below 1.0 mm, and above 1.0 mm of water-stable aggregate, respectively, compared with one year of no-tillage. Bulk density of top soil was $1.10MG\;m^3$ at tillage and $1.30MG\;m^3$ at one year of no-tillage. Bulk density of top soil was $1.14MG\;m^3$ at two years and $1.03MG\;m^3$ at three years of no-tillage, respectively. Bulk density of subsoil was a similar tendency. Solid phase ratio in top soil and subsoil was increased at one year of no-tillage compared with tillage soil, while soil phase ratio decreased at two and three years of no-tillage. Pore space ratio in tillage top soil (58.5%) was decreased by 8.5% at compared with no-tillage soil (51.0%). Pore space ratio was 56.9% and 61.2% at two and three years of no-tillage soil, respectively. Subsoil was a similar tendency. Gaseous phase ratio was decreased at one year of no-tillage soil, and increased at two and three years of no-tillage soil compared with tillage soil. Liquid phase ratio in top soil was increased at one year of no-tillage (28.3%), and decreased at two years (23.4%) and at three years (18.3 %) of no-tillage soil compared with tillage soil (24.2%). Subsoil was a similar tendency. Liquid phase ratio in subsoil was increased than top soil.

• Korean Journal of Agricultural Science
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• v.42 no.1
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• pp.37-46
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• 2015

This study was carried out to determine the effect of storage condition, such as temperature and relative humidity (RH), on the change of sensory properties and free fatty acid composition of pre-packed Hanwoo loin (Musculus longissimus) until $21^{st}$ day of storage. The Hanwoo loin was sliced in $1.0{\pm}0.2cm$ thickness and each of the sliced pieces was packed in a foamed polystyrene tray with linear low-density polyethylene (LLD-PE) film to simulate the pre-packed Hanwoo loin sold in retail market, then stored in home-style refrigerator (Con; $5^{\circ}C$, 17%RH), and temperature and RH controled chambers (T1; $5^{\circ}C$, 55%RH, T2; $5^{\circ}C$, 85%RH, and T3; $-1^{\circ}C$, 99%RH), respectively. The sensory characteristics of pre-packed Hanwoo loin during storage in different conditions were measured on raw or after cooking. After 21 days of storage, the loin stored in T3 showed significantly high color and acceptability scores ($7.46{\pm}1.07$, $7.06{\pm}1.36$, respectively) on raw loin, and flavor and acceptability scores ($7.16{\pm}0.90$, $6.90{\pm}0.92$, respectively) on cooked loin than those of others (p<0.05). The concentration of 12 fatty acids of pre-packed Hanwoo loin during storage in different conditions were analysed. The concentration of oleic acid (C18:1, $39.92{\pm}3.22%$), palmitic acid (C16:0, $28.20{\pm}2.42%$), and stearic acid (C18:0, $12.59{\pm}2.79%$) was high in Hanwoo loin on $1^{st}$ day of storage. The concentration of palmitic acid of Hanwoo loin stored in T2 was increased significantly after $4^{th}$ day of storage (p<0.05), and the concentration of myristic acid(C14:0) of Hanwoo loin stored in treated chamber (T1 to T3) was significantly higher than Con after $14^{th}$ day of storage (p<0.05). The concentration of linolenic acid (C18:3) of Hanwoo loin was decreased significantly after $4^{th}$ day of storage in all tested storage conditions (p<0.05). However, there was no significant or consistent change in the concentration of oleic acid (C18:1) during storage period in every Hanwoo loin stored in tested conditions. Although, the concentration of total monounsaturated fatty acids (MUFA) was decreased in Con and T2 (p<0.05), there was no consistent change in the monounsaturated fatty acids to saturated fatty acids ratio (MUFA/SFA) during storage period (p>0.05). From those results, it was considered that storage condition affects on the sensory acceptability and fatty acid composition of pre-packed Hanwoo loin as storage period was increased.

• Cartoon and Animation Studies
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• s.48
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• pp.359-383
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• 2017

3,000 years ago, since the first poster of humanity appeared in Egypt, the invention of printing technique and the development of civilization have accelerated the poster production technology. In keeping with this, the expression of poster has also been developed as an attempt to express artistic sensibility in a simple arrangement of characters, and now it has become an art form that has become a domain of professional designers. However, the technological development in the expression of poster is keep staying in two-dimensional, and is dependent on printing only that it is irrelevant to the change of ICT environment based on modern multimedia. Especially, among the many kinds of posters, the style of movie posters, which are the only objects for video, are still printed on paper, and many attempts have been made so far, but the movie industry still does not consider ICT integration at all. This study started with the feature that the object of the movie poster dealt with the video and attempted to introduce the augmented reality to apply the dynamic image of the movie to the static poster. In the graduation work of the media design major of a university in Korea, the poster of each works for promoting the visual work of the students was designed and printed in the form of a commercial film poster. Among them, 6 artworks that are considered to be suitable for augmented reality were selected and augmented reality was introduced and exhibited. Content that appears matched to the poster through the mobile device is reproduced on a poster of a scene of the video, but the text informations of the original poster are kept as they are, so that is able to build a moving poster looked like a wanted from the movie "Harry Potter". In order to produce this augmented reality poster, we applied augmented reality to posters of existing commercial films produced in two different formats, and found a way to increase the characteristics of AR contents. Through this, we were able to understand poster design suitable for AR representation, and technical expression for stable operation of augmented reality can be summarized in the matching process of augmented reality contents production.