• Korean Architects
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• s.586
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• pp.114-125
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• 2018

• Korean Medical Education Review
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• v.18 no.2
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• pp.114-115
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• 2016

• Cartoon and Animation Studies
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• s.33
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• pp.293-315
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• 2013

The number of French movies imported to and released in S. Korea is constantly increasing. All French movies released in Korean theatres, however, are not a great success. For the domestic film market and audiences, the idea French cinema is generally equivalent to 'diversity cinema' or 'arthouse films' is common notion. In this respect, French movies introduced throughout the country would be culture product into which one can read other cultural significances different from that of domestic cinema, and also serve significant cultural value to understand diversity in cinema, for domestic audiences. However, it could be said that French movies, in common with Hollywood films, obey rules in the film industry and needs for audience trends. In this content, what the researchers want to do is to analysis the tendency of the domestic audience reception and main causes of commercial success in the domestic film market, analysing Taken produced in France. The analysis, most of all, suggests the consideration for the film industry beside the notion of cultural diversity in cinema, as imported films are released in the domestic theatre. For this, the study examines the promotional strategy the french cinema perceived generally as the arthouse film applies extensively, analysing on Taken, and inquires into factors of commercial success, using SWOT Analysis. This study, the first of all, (briefly) examines what audiences consider when they choose a film to watch, articulating (generally) the choice-and-consume modality of the domestic audience. And then, it examines dominant factors Taken was a commercial success in domestic film market, even though the film is a french film, using SWOT Analysis. On the basis of SWOT Analysis, finally, this study draws up promotional plan for Taken, and shed new light on dominant preconditions, when the foreign cinema would be imported from the now on.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2006.05a
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• pp.158-164
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• 2006

Multiplex have many screen in one place and provide customer Multiple Entertainment Option. Today multiplex cinema is a new culture place for the public to approach most easily in Korea. It also gave a chance to recognize how important a popular culture place is. but it has a problem that this space wasn't designed for customer and don't have even a rest area for them as they focused only on economic growth. therefore, in this study, it point's the utilization of Service Areas problems and provide basic data of interior design for customer.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2000.06a
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• pp.587-593
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• 2000

The background noise and transmission loss of wall were measured on site for the multiplex cinema. The results from the simulation analysis was compared with the measurements from the site for different frequencies to review the acoustical parameters, and the analysis results in the relatively small error. Therefore, it is concluded that the reliable estimation can be made once accurate data such as sound source and sound absorption coefficient of interior material is utilized during the simulation process. However, the calibration is necessary for the test room with the small room volume.

• Korean Institute of Interior Design Journal
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• v.16 no.3 s.62
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• pp.111-118
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• 2007

Using effective light, which is physical experiences by its control and manner of adaption, and make human to recognize the shape and give the meaning, so that approaching against perception experimental method which plays a role in basic clue, is regarded crucial highly among human sensory organ. this study consider the perception conception, its feature and necessity against eyes' adaption among human perception experimental experiences which has been discussed indifferently for inner space. Also, we looked over the problems among actual examples of inner spaces which should be considered as to adaption conception of human beings. Furthermore, this study aims at basic studying, which searching for enable to adapt in case of planning for inner space planning and distributing the quality evaluation by using effective light.

• The Bulletin of The Korean Astronomical Society
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• v.37 no.2
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• pp.168.1-168.1
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• 2012

TRIO-CINEMA(TRiplet Ionospheric Observatory-Cubesat for Ion, Neutral, Electron, MAgnetic fields)는 중량 3 kg의 초소형 인공위성 3기로 구성되며, 그 임무는 근 지구 플라즈마 입자 검출 및 자기장계측이다. 3기 중 1기는 UC Berkeley에서, 2기는 경희대학교에서 제작 및 운용된다. 경희대학교 천문대에 IGSS(Integrated Ground Support Software), TNC(Terminal Node Controller), 송신기, 안테나제어기와 안테나로 구성된 지상국을 구축하였으며 위성에 명령을 전달하는 기능을 수행한다. 위성으로부터 데이터 수신은 한국천문연구원의 안테나와 수신기를 이용할 예정이다. 2기의 위성을 하나의 지상국에서 운용하기 위해서는 각 위성에 대한 송신 주파수 변경 및 패스스케줄(pass schedule) 조정이 필요하며, 이를 수행할 수 있는 RF Chain을 구축하였다. 본 연구는 RF Chain 구축과 검증과정을 기술하였으며, 시스템의 검증으로 원거리 필드 테스트, 데이터 통신 테스트, 링크 여유 분석 등을 수행하였다.

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

• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.72-72
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• 2001

• Proceedings of the Korea Institute of Fire Science and Engineering Conference
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• 2002.05a
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• pp.53-61
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• 2002