• 대한기계학회논문집B
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• 제22권7호
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• pp.946-955
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• 1998

Local condensation heat transfer coefficients in tubes were calculated by solving momentum and energy equations for annular film with liquid entrainment. The turbulent eddy distribution across the liquid film has been proposed and the calculated heat transfer coefficients were presented. Also turbulent Prandtl number effects on condensation heat transfer were discussed from three Pr$\_$t/ models. Finally, the calculated condensation heat transfer coefficients of R22 were compared with some correlations frequency referred to in open literature. This calculation model considering liquid entrainment predicted well the in-tube condensation heat transfer coefficient of R22 than the model not considering liquid entrainment. The effect of entrainment on heat transfer was predominant for high quality and high mass flux when the liquid film was turbulent.

• 만화애니메이션 연구
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• 통권6호
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• pp.72-90
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• 2002

The nature of animation is to create a moving image. Also, it creates a narrative space and visual image which is different form a reality. Therefore, image expression is very important in the animation. Although the domestic animation has a movement, it has not an image which has meaning. For instance, Korean fiction animation ${\ulcorner}$My beautiful girl, Mary${\lrcorner}$ has grand prize in Anncy International Animated Film Festival, 2002. Such achievement give new vision and present a clue of development to our national animation. However, not many people went to the cinema to watch it. The reason is that although 'Mary' has the Fantastic image, she doesn't show a true life image. The film is revival of reality through the image. However, animation is revival of reality through the 'transformation' of the existing image. Therefore, reviving exactly the same as a reality is not the most important fact in the animation image. Preferably, the most important fact in the animation image is that reviving reality into highly wrought image. This paper will study an expression form of animation trough the image. This paper will study an expression form of animation trough the image. Especially, it will concentrate on poetic image. For this, It will associate 'poetic' in literature with 'poetic image' in animation. For this, It will associate 'poetic' in literature with 'poetic image' in animation. Also, a variety poetic animation image will be divided into 1)mongtage 2)rhythm 3) compression 4)metaphor & symbol, and will be looked 'poetic image' effect.

• 한국콘텐츠학회논문지
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• 제16권3호
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• pp.536-545
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• 2016

본 연구는 문학과 연극, 인성교육을 융 복합시킨 교양교과목 <연극영화로 배우는 영어> 수업 사례이다. 교양교육의 목표가 대체로 '보편적 진리 탐구를 통한 지성인 양성'에 둔 교육 현장에 '실용적 가치에 기반을 둔 전문직업인 양성'이라는 새로운 과제가 도입되면서 융 복합 교육 방안에 대한 관심이 확장되었다. 이 교과목은 도구로서의 기술 훈련에 초점을 맞춘 영어 회화나 공인시험에서 고득점을 획득하기 위한, 이른바 취업 역량 강화 교과에 지나치게 치중하는 상황에서, 교양영어 교육에서 영어로 된 다양한 자료를 통하여 논리적 사고와 인식의 폭을 넓히는 훈련이 배제되어서는 안 된다는 생각에 따라 두 가지 목표를 아우르고자 구상되었다. 학생들의 지성과 감성을 자극할 수 있는 문학과 짧은 연극 대본을 선정하여 구어체 대사를 암기하며 자연스럽게 말하기를 익히고, 작품 분석과 이해를 통해 문학과 연극에 관한 지식을 함께 숙지할 수 있도록 하여 영어 학습에 폭넓은 지식을 더하였다. 또한, 조별 연극 공연을 통하여 책임감, 협동, 화합, 배려심의 중요성을 스스로 체험하게 하여 인성 함양에도 중점을 두었다. 이러한 융 복합 수업은 교수와 학생이 소통할 수 있는 양방향 수업을 실행하면서 학생들의 자기 주도적 참여를 이끌어 도구로서의 영어뿐 아니라 문학과 인성 함양에 긍정적인 성과를 보였음을 알 수 있었다.

• 복식문화연구
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• 제23권4호
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• pp.554-568
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• 2015

Technological change leads to a value shift in human society. Various cultural experiences through the digital paradigm influence the expression of fashion. This article considers fashion film as a new form for presenting fashion and explores the distinctiveness of expression in digital fashion film. For the methodology, a literature review was conducted to examine the concepts and features of digital fashion film and metareality. Empirical research was also performed by drawing from Nick Knight's digital films, "Sans Couture", "#asif", and "The Elegant Universe" and by specifically analyzing the classification of the themes, visuals, and auditory expression. The results are as follows. The proliferation of fashion film has accelerated in the internet environment. New media in the digital era allows images to become more realistic and variable through immaterial conversion. Metareality is the notion of a reality beyond existence. A metarealistic image maintains the metaphysical nature of an object and transcends empirical appearance. It possesses immaterial, transboundary, and multidimensional features, and the image is realized by digital technology. The expression analysis identifies the metareality expressed in contemporary fashion film appearing as atypical forms, irrational combinations, and the playfulness of motion. It shows a positive attitude, transcending the immaterial limit of reality toward fashion. This study indicates how fashion as products challenges the metaphysical transformation in the digital era. The exploration of metareality in digital fashion film promotes a wider perspective and understanding of the concept of fashion.

• International Journal of Contents
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• 제9권3호
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• pp.48-54
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• 2013

This paper explores J. R. R. Tolkien's fantasy novel, The Lord of the Rings Trilogy in order to analogize two primary sources which enabled the fantasy literature to be restored to its former popularity in 1930's-50's. First source is the cinematization of the original novel, based on the advanced digital technology, and second, the adaptation of Norse mythology to the original novel. The advanced digital technology rendered a distinguished contribution to the resurrection of the fantasy novel today. Peter Jackson, the director of the film trilogy, The Lord of the Rings Trilogy gained an un-heard popularity in the history of the fantasy movie. It was practicable with the advanced digital technology. Nevertheless, it could be realized only with the fact that J. R. R. Tolkien's original novel retains the excellence of plot. The episodes of the novel present the author's broad knowledge of Norse mythology and his attempts to employ it to the novel, The Lord of the Rings Trilogy. Through such two directions, this paper describes that the advanced digital technology and the quality of the original plot are two key elements to succeed in authoring and filming the fantasy literature.

• 복식
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• 제63권1호
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• pp.1-15
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• 2013

This study deals with the aesthetic characteristics in Gareth Pugh's fashion film. As fashion films are becoming a newly emerging communication tool in fashion, the aim of this study will be to build a database on these films. For the specific method in this work, literature reviews were performed along with the empirical study of seven pieces of fashion film. The results of the study showed that Gareth Pugh released the fashion films from 2008 to 2012, and he collaborated with SHOW Studio member and photographer Nick Knight and Ruth Hogben. Common themes in their films were fear, fantasy, dynamics, and going off-limits, and these can be summed up in the following ways. First, a sense of fear was expressed via black colors, bizarre mechanical sounds, decalcomania shape in abstract images, and transformed physical body images. Second, an image of fantasy was presented with diverse expression techniques including colorful light presentations and abstract image setups from repeatedly changed image reproduction. Third, dynamic feature was denoted with a combination of fast development of images and quick reproduced layouts, as well as quick beat sounds, and big and powerful action movements. Fourth, characteristic of going off-limits was reflected, by showing the collections with a communication tool called fashion film instead of existing collection concept.

• 설비공학논문집
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• 제25권5호
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• pp.246-254
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• 2013

Some characteristics of nitrogen-water slug flow were optically measured, in vertical acrylic tubes of 2, 5 and 8 mm diameter. Bubble velocity, bubble and unit cell lengths were measured, by analyzing the light intensity signals from two sets of dot laser-infrared sensor modules mounted along the transparent tubes. Optical images of the bubbles were also taken and analyzed, to measure bubble shapes and liquid film thickness. It was found that the measured bubble velocities were in good agreement with the empirical models in the literature, except for those measured under high superficial velocity condition in the 2 mm tube. Bubble length was found to be the longest in the 2 mm tube, being 4 to 5 times those of the other tubes. Liquid film was found to have developed early in the 2 mm tube, which made the blunt shape of the bubble head. Liquid film thickness in the 8 mm tube was measured at almost twice those of the other tubes.

• 한국의류학회지
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• 제45권4호
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• pp.630-647
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• 2021

As generations Y and Z gain influence, luxury fashion brands are interacting with younger digital consumers through fashion film, seeking to offer them a differentiated brand experience. Using a literature review addressing characteristics of fashion films as a communication medium and luxury fashion brands' heritage in the digital era, this study examines how brands express their heritage through fashion film, categorizing those expressions in terms of implicit meaning. The case study analyzed films from Louis Vuitton, Chanel, Dior, and Burberry uploaded to YouTube between 2018 and 2020. First, to retain their status as luxury, brands emphasize historical legitimacy. Specifically, they highlight their iconic historical image, their succession of creative directors, valuable historic locations, and diversity of consumer's brand experiences. Second, by stressing craftsmanship, integrating contemporary art and local culture, and utilizing a museum aura, they use brand heritage to acquire luxury status. Third, they attempt to mythify the founders by creating the persona of the fashion designer and the artist. The results show that the heritage depicted in fashion films is a key way in which luxury fashion brands resolve the tension between accessibility and exclusivity that they encounter and to get consumers emotionally engaged with brands.

• 한국의류산업학회지
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• 제21권4호
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• pp.379-389
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• 2019

Fashion brands have traditionally conveyed emotions through brand image and images such as fashion photos; however, fashion films play an important role in conveying emotion to consumers due to changes that have resulted from the development of digital technology. This study investigates haptic perceptions in fashion films based on Laura Marks' theory. The study concurrently conducted literature and case studies. Haptic and is a condition of touching an object without actually touching it. Marks describes haptic theory as an embodied perception of physical effects that occur as images affect the body. Haptic perceptions that cause a sense of touching when looking at a fashion film can be understood as a formality embodied in the body of the object and spectator created by the object and spectator's clothing experience. Our bodies and apparel can be seen as being perceived and imprinted in our bodies by constantly experiencing and maintaining relationships in an inseparable relationship. Thus, when we look at fashion films, the haptic image invites feeling embodied in our body and provide a haptic perception. As a result, factors for the haptic perception in fashion film are ambiguity of images, fetish image, and non-narrative. Fashion companies are expected to make active use of haptic elements as an era of artificial intelligence arrives and the size of the e-commerce market grows.

• JSTS:Journal of Semiconductor Technology and Science
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• 제11권4호
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• pp.262-271
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• 2011

In this work, we present a unified analytical surface potential model, valid for both PD and FD SOI MOSFETs. Our model is based on a simplified one dimensional and purely analytical approach, and builds upon an existing model, proposed by Yu et al. [4], which is one of the most recent compact analytical surface potential models for SOI MOSFETs available in the literature, to improve its accuracy and remove its inconsistencies, thereby adding to its robustness. The model given by Yu et al. [4] fails entirely in modeling the variation of the front surface potential with respect to the changes in the substrate voltage, which has been corrected in our modified model. Also, [4] produces self-inconsistent results due to misinterpretation of the operating mode of an SOI device. The source of this error has been traced in our work and a criterion has been postulated so as to avoid any such error in future. Additionally, a completely new expression relating the front and back surface potentials of an FD SOI film has been proposed in our model, which unlike other models in the literature, takes into account for the first time in analytical one dimensional modeling of SOI MOSFETs, the contribution of the increasing inversion charge concentration in the silicon film, with increasing gate voltage, in the strong inversion region. With this refinement, the maximum percent error of our model in the prediction of the back surface potential of the SOI film amounts to only 3.8% as compared to an error of about 10% produced by the model of Yu et al. [4], both with respect to MEDICI simulation results.