• The Journal of the Korea Contents Association
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• v.18 no.2
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• pp.57-72
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• 2018

Choi Dong-hoon's films tend to have not been well treated academically in Korea. But from the point of view that his works have succeeded in box office and survived in the market for some reason, there seems to be new possibilities to treat them. In this paper, the two movies with ten million audiences, and that are Choi's original scenario and caper film genre are tried to examine the success factors in box office on "making well made story". Often, well-made films have both genre-customary and creative aspects. Choi Dong-hoon's movies are the same. and faithfully follow the rules of caper film genre. At the same time, these two films have complex adaptive systematic creativity, in which multiple characters are self-organizing with their story patterns actively. And since there is a proper coexistence of customary and original aspects in the and , these two films are seemed to be at the edge of the chaos, which is the most market adaptable.

• Journal of Korean Library and Information Science Society
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• v.13
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• pp.1-28
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• 1986

An outline of the scope and history of encyclopaedias is essentially a guide to the story of the development of scholarship, for encyclopaedias stand out as landmarks throughout the centuries, recording much of what was known at the time of publication. the early stage of encyclopaedias originated a summaries of scholarship in forms comprehensible to their readers, so that compiled their works single-handedly. The impact of Christianity brought a new phase in Western encyclopaedia making. As religion is emphasized in the encyclopaedias of those time, it pervades the whole of their contents. It was made for Christian education. The general trend in treatment in the Middle ages was arranged by subject. Most of the encyclopaedias issued before the introduction of printing into Europe having been arranged in a methodical or classical form, the alphabetically arranged encyclopaedia has a history of less than 1000 years. By influence of printing and Renaissance, a turning point came with encyclopaedia making. There were just as increasingly preferred to put practical topics first. Until those time, thought in terms of arranging their entries in alphabetical order has already familiarized. By generalization of public education in 19th-century, there were increasingly the number of purchasers so that prevailed commercial publication. It was those time that was settled the features of contemporary such as multivolume compendium of all available knowledge, complete with maps and a very detailed index, as well as numerous adjuncts such as bibliographies, illustrations, lists of abbreviations and foreign expressions, gazetteers, and so on.

• Cartoon and Animation Studies
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• s.36
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• pp.325-347
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• 2014

"The art challenges the technology, and the technology inspires the art." By this word John Lasseter expressed Pixar animations main soul of story. Media technology has a close relation with the animation. As media developed more and more, an animation has been widen a lot and have given new visions to the audiences. We can see such this figure from the history of the Disney animation. They had tried to make all the kind of animations such a silent animation, planetary animation, black and white animation and the multi colored animation. Lately Disney had made animation that has traditional style. But the method of making traditional animation stable side story's holdup the audience. So Disney animation decided to change this method. For the result of Disney animation studio effort Frozen had produced after a computer graphics work following Rapunzel. What was the reason for entertain well of Frozen? Not only changing the method of producing traditional to computer graphic is could not make entertain well. We can see from the Frozen concordance of the original idea and modern scenario, OST the perfection of computer graphics work. In this paper work Disney animation has worked from the silent animation to computer graphic works result of "The Frozen". For the contribution of technology development makes able to analyze animations expression and relation. There is a lot shots that hard to analyze in the Frozen. But I will study it with the method named "Expansion in space" to making main analyzing expressive extension that appears on the scene.

• Journal of KIBIM
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• v.2 no.1
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• pp.1-6
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• 2012

With the increased awareness of energy consumption as well as the environmental impact of building operations, architects, designers and planners are required to place more consideration on sustainability and energy performance of the building. To ensure most of those considerations are reflected in the building performance, critical design decisions should be made by key stakeholders early during the design development stage. The application of BIM during building energy simulations has profoundly improved the energy analysis process and thus this approach has gained momentum. However, despite rapid advances in BIM-based processes, the question still remains how ordinary building stakeholders can perform energy performance analysis, which has previously been conducted predominantly by professionals, to maximize energy efficient building performance. To address this issue, we identified two leading building performance analysis software programs, Energy Plus and IES (IES ), and compared their effectiveness and suitability as BIM-based energy simulation tools. To facilitate this study, we examined a case study on Building Performance Model (BPM) of a single story building with one door, multiple windows on each wall, a slab and a roof. We focused particularly on building energy performance by differing building orientation and window sizes and compared how effectively these two software programs analyzed the performance. We also looked at typical decision-making processes implementing building energy simulation program during the early design stages in the U.S. Finally, conclusions were drawn as to how to conduct BIM-based building energy performance evaluations more efficiently. Suggestions for further avenues of research are also made.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.4
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• pp.24-41
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• 2013

This study aims to investigate the complex planning processes and design ideas of the Gwanghwamun Plaza which was opened in 2009. The opening of the plaza was significant as it was built in order to restore the symbolic meaning of axis in the historical Joseon Dynasty that was distorted during the Japanese Imperialism. The plaza itself attracts many citizens and tourists by providing the empty ground carrying historical ambiences around. In this paper, the story of the Gwanghwamun plaza will be summarized. Particularly, the background of promoting the project will be discussed and the whole planning process will be dealt with. The plaza was realized through several stages. First, the planning stage will be reviewed. The planning stage had been a quite long process since the initial idea was discussed. Since the early 90s, the political decision of making the plaza was made through the change of people's understanding toward public space. At this stage, the city government worked together with diverse citizens and professionals to share the vision and to realize the right decision in making the plaza. Second, the design stage will be elaborated in detail. This is the second design stage. The former was the idea competition and the latter was the turn-key base. The final design scheme emphasized the restoration of symbolic axis and the forgotten Yukjo Street. The scheme consists of four zones such as history restoration zone, prospect and history representation zone, culture zone, and the urban zone. Through the whole design process, the original idea remained as it was. The design concept was "a place of memory and prospect." It emphasizes the history representation, view corridor, cultural activities platform as well as the emptiness and flexibility of the basic premise of the plaza. Finally, the construction stage will be discussed. There were some additions and omissions in the construction process. The design chances in the construction stage will be reviewed in detail. After the opening of the plaza, there were some changes in the detail design. We will discuss how and why these modifications were made. In the end, the social and cultural implication of the plaza will be discussed. The storytelling of the Gwanghwamun Plaza will contribute to the clear understanding of planning and design process of pubic places. Based on this reflection, we are able to think about some suggestions of public projects for the future.

• MISULJARYO - National Museum of Korea Art Journal
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• v.99
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• pp.10-29
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• 2021

This paper is an introductory study of the wooden Buddha images excavated in the Mekong Delta in present-day southern Vietnam. Approximately thirty examples of wooden Buddha images have been recovered in the Mekong Delta. As they were found among the major historic sites of Funan (the first kingdom in Southeast Asia), including Oc Eo, and likely date to the sixth century, they can be regarded as the works of Funan. Similarly to stone Buddha images, these wooden examples are considered important for their demonstration of aspects of early Buddhist sculpture in Southeast Asia. Most of these Funan wooden Buddha images are presumed to have been produced around the sixth century based on radiocarbon dating and their stylistic characteristics. This paper analyzed the iconography and style of eight examples whose forms are relatively recognizable. The eight images can be divided into four types according to their postures, dress styles, and hand gestures. They all share features of the Sarnath style of the Gupta period in India as seen in their slender bodies and the outer robe that clings to the body. However, some display a South Indian style of Buddha images in their upright posture, style of wearing a monastic robe with the right shoulder exposed, and making the vitarka mudra (preaching gesture) that is often seen in Sri Lankan Buddha images. This suggests that Buddhist sculptors in Funan devised a new style by incorporating the principal styles of Indian Buddhist sculpture. Another notable feature of these Funan images is their material, namely, wood. While none of the contemporaneous Hindu sculptures discovered from the same historic sites are made of wood, numerous Buddhist sculptures are. This paper postulates that the use of wood in Buddhist sculptures was promoted for reasons beyond ease of carving. According to the Buddhist literature, the first-ever Buddha image was the so-called 'Udayana image' made out of sandalwood. This image and its story was well-known in the Southern Dynasty of China around the sixth century. Interestingly, some auspicious sandalwood images of the Buddha was believed to have been brought into the Southern Dynasty from Funan. This suggests the possibility that the legend of the Udayana image might have been known in Funan as well and resulted in the production of wooden sculptures there.

• The Korean Journal of Archival Studies
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• no.16
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• pp.303-339
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• 2007

"The damage incurred from forced mobilization under the Japanese Imperialism" means the life, physical, and property damage suffered by those who were forced to lead a life as soldiers, civilians attached to the military, laborers, and comfort women forcibly mobilized by the Japanese Imperialists during the period between the Manchurian Incident and the Pacific War. Up to the present time, every effort to restore the history on such a compulsory mobilization-borne damage has been made by the damaged parties, bereaved families, civil organizations, and academic circles concerned; as a result, on March 5, 2004, Disclosure act of Forced Mobilization under the Japanese Imperialism[part of it was partially revised on May 17, 2007]was officially established and proclaimed. On the basis of this law, the Truth Commission on Forced Mobilization under the Japanese Imperialism Republic of Korea[Compulsory Mobilization Commission hence after] was launched under the jurisdiction of the Prime Minister on November 10, 2004. Since February 1, 2005, this organ has begun its work with the aim of looking into the real aspects of damage incurred from compulsory mobilization under the Japanese Imperialism, by which making the historical truth open to the world. The major business of this organ is to receive the damage report and investigation of the reported damage[examination of the alleged victims and bereaved families, and decision-making], receipt of the application for the fact-finding & fact finding; fact finding and matters impossible to make judgment; correction of a family register subsequent to the damage judgement; collection & analysis of data concerning compulsory mobilization at home and from abroad and writing up of a report; exhumation of the remains, remains saving, their repatriation, and building project for historical records hall and museum & memorial place, etc. The Truth Commission on Compulsory Mobilization has dug out and collected a variety of records to meet the examination of the damage and fact finding business. As is often the case with other history of damage, the records which had already been made open to the public or have been newly dug out usually have their limits to ascertaining of the diverse historical context involved in compulsory mobilization in their quantity or quality. Of course, there may happen a case where the interested parties' story can fill the vacancy of records or has its foundational value more than its related record itself. The Truth Commission on Compulsory mobilization generated a variety of oral history records through oral interviews with the alleged damage-suffered survivors and puts those data to use for examination business, attempting to make use of those data for public use while managing those on a systematic method. The Truth Commission on compulsory mobilization-possessed oral history archives were generated based on a drastic planning from the beginning of their generation, and induced digital medium-based production of those data while bearing the conveniences of their management and usage in mind from the stage of production. In addition, in order to surpass the limits of the oral history archives produced in the process of the investigating process, this organ conducted several special training sessions for the interviewees and let the interviewees leave their real context in time of their oral testimony in an interview journal. The Truth Commission on compulsory mobilization isn't equipped with an extra records management system for the management of the collected archives. The digital archives are generated through the management system of the real aspects of damage and electronic approval system, and they plays a role in registering and searching the produced, collected, and contributed records. The oral history archives are registered at the digital archive and preserved together with real records. The collected oral history archives are technically classified at the same time of their registration and given a proper number for registration, classification, and keeping. The Truth Commission on compulsory mobilization has continued its publication of oral history archives collection for the positive use of them and is also planning on producing an image-based matters. The oral history archives collected by this organ are produced, managed and used in as positive a way as possible surpassing the limits produced in the process of investigation business and budgetary deficits as well as the absence of records management system, etc. as the form of time-limit structure. The accumulated oral history archives, if a historical records hall and museum should be built as regulated in Disclosure act of forced mobilization, would be more systematically managed and used for the public users.