• Cartoon and Animation Studies
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• s.9
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• pp.294-309
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• 2005

The term 'animation' derived from the Latin 'anima' meaning spirit, life, or vitality. Although its original meaning was somewhat related to creation of life or incorporation of vitality into an inanimate or nonexisting entity by providing mobility through artificial manipulation, it is now used in a rather narrow sense to define collectively the cartoon-based films or tape-recordings and specialists who are involved in animation production or related areas are called animators. The current worldwide market for animation production is progressing and expanding enormously. Although the domestic animation market is ranked as third in the world in terms of overall quantity, the reality is that there are few high quality products that can compete with foreign animation products in the global markets. This issue is further discussed in this paper along with the current status of the domestic animation technology and production. This investigation concerns the comparative analysis of literature data on foreign and domestic animation, which can be a basis for the production of internationally competitive animation work.

• 제어로봇시스템학회:학술대회논문집
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• 1992.10b
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• pp.318-323
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• 1992

The improvement of the production capability of multi PCB assembly line can not be simply done by improving the capacities of each assembly robot cells but must be done by controlling the production line effectively with the line host computer which controls over the whole assembly line. A real time production control, a real time model change and a real time trouble shooting compose the specific concepts of this technique. In this paper, we present and analyze the definition and application method of real time assembly concept. The meaning of real time model change, troubles and error sooting and its algorithm will be introduced. Also, the function of the host computer which is in charge of all of many different tasks mentioned above and the method are presented. The improvement of the productivity is mainly focused on the efficiency of multi-PCB production control. The importance of this aspect is gradually increasing, which we have presented the analysis and the solution.

• Asia-Pacific Journal of Business
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• v.5 no.1
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• pp.43-53
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• 2014

Social and economic changes in the world, along with changes in the culture of government and structural changes in the relationship between the state, the market and higher education institutions, have resulted in new approaches pursued by states towards higher education (Konstantinov & Philonovich, 2007; Peterka, 2011). Higher education institutions, in its turn, enjoy more freedom in choosing to focus on various tasks and goals to their academic activities. This contributes to the diversity of expectations when it comes to the various roles modern academic institutions take on with regard to their development. Among many existing concepts in the current academic environment, the concept of "entrepreneurial university" is becoming a critically important concept in Russia. In this article, we consider the concept of the Entrepreneurial University as developed in Clark and Etzkowitz's theories, and the ways the concept is being adjusted in the higher education system in Russia. We analyze comparatively both contemporary and prior historical [1990s-mid2000s] state policies pertaining to higher-education institutions in Russia in order to provide an insight into how the national market of knowledge intensive production is being established in the country. As a consequence of these analyses, we present a new model of how universities can take a more systemic and meaningful approach to creating research-based innovation entrepreneurial activities. This approach is also viewed as making universities' innovation activities more sustainable and thus less dependent on the state support.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.36-43
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• 2023

This study aims to derive discourse's linguistic meaning, production method, and social practice implications by analyzing news reports on de-facility for people with disabilities. To this end, the discourse was analyzed by applying Fairclough's framework of critical discourse analysis. The subject of analysis is a news article on the de-facility of the disabled on the N portal site, and the analysis period is one year, from January 1 to December 31, 2022. First, as a result of the study, the surface meaning of the news discourse on the de-facility for disabled people was ideological through the seriousness of the problem for disabled people, the poor environment, and the policy of de-facility for disabled people separated from reality. Second, the social meaning of the de-facility news discourse for disabled people appeared from a realistic perspective, such as the structural cause of the problem for disabled people and the need for sensible government policies and measures to practice de-facility for disabled people. Finally, the socio-cultural practical implications of the de-facility news discourse for people with disabilities proposed the development of a systematic and realistic de-facility management manual for the disabled, practical government policy support, and changes in self-support perception for disabled people. The results of this study are expected to help find an alternative direction to reduce the gap between actual policies for de-facility for disabled people and practice in the field in the future.

• Clean Technology
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• v.22 no.4
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• pp.316-325
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• 2016

Ever since the concept of clean production technology was introduced to the Korea industry communities, 16 years has passed, but there is still some confusion regarding to the definition and the meaning. It ascribes that SMEs do not widely accepted the concept and therefore the dissemination is still not widen. This study has explored the definition and the categories of clean production technologies as well as compared the relationship between the environment technology and green technology.In addition, as a policy plan to disseminate cleaner production technologies to small and medium enterprises, several policies are suggested hoe to improve and expand eco- innovation projects that are currently supported by the government.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2007.11a
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• pp.84-88
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• 2007

Movie has a light, colors, and texture in the space and a design. Movie is a ovation of the 3-dimensional reality with time and space. Just like a movie, a space can also express time, personality of characters and background stories. Symbolization of a space tells philosophy and emotions, making meaning of the space abundant and consistency in entire composition of the space. Expression of beauty through order of space inside proves meaning of space. Think that can do and present to production methodology of space design to universalize ureas through symbolic productions that is based on story.

• Journal of Korea Multimedia Society
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• v.22 no.6
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• pp.729-737
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• 2019

This study defined the animation space as the concept of map based on the space of Joseph Campbell's heroic narrative. The space in which the animated character exists is an image symbolic language that reflects the inner and outer growth stages of the hero. I focused on the spatiality that plays the role of the power to lead the narrative and examined the meaning as the mediator that leads the heroic narrative. First, 6 spatial variables were derived by observing 'Hero's Journey 'which is used as a basis of US commercial animation scenario. Second, spatial variables are defined as 64 zones and proposed as 'Spatial Map Model of the Hero's Journey' (SMMH). Third, the character space of was applied to 'SMMH', and the change of space utilization rate and spatiality and the narrative meaning were analyzed. This study extended the narrative of animation space which was not actively studied to map concept. It is possible to provide a different viewpoint in animation production and research.

• The Journal of the Korea Contents Association
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• v.8 no.4
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• pp.1-9
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• 2008

SOA sorts function of old applications by function unit that have business meaning, and through standard call interface, do orchestration by component unit of service. System that developed in this paper predicts production point of time when order with frugality of production raw material. And reduce original register resources purchase expense and production costs in proper stock and increase company's competitive power. Also, design and implementation production management system for many species small quantity production of SOA base that reflect this analyzing correctly company's manufacturing process and original register resources supply and demand present condition.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.183-190
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• 2006

The purpose of this study was to analyze social, economic and cultural phenomena of the luxury brand in the viewpoint that the consumption system of the modern society stood for the sign consumption and the industrial production of difference as Baudrillard mentioned in the Consumer Society. The result was divided into the two subjects popularization and differentiation of luxury brand. Firstly the meaning of luxury brand was that the personal effects of consumption of king or aristocratic class who did not exist in the modern and were made into the selection and consumption-possible things of exchange value. The popularization of this sign was accelerated through TV drama. Secondly as differentiation strategy of luxury brand, was made by giving meaning to the life style concept of the upper class with advertisement and design, and also the logo of design was used as sign differentiated from people. Also the reason why the producer of the luxury brand gave meaning to such life style was that the awareness of the brand which people have consistently makes them consume more products. The consumption system of the modern society stood for the sign consumption, difference sign mark value which was the desire on a social meaning basis, not the consumption of things as used value. And the consumer could express his personality by selecting and consuming the product of luxury brand model made with this sign. Accordingly the distribution, purchase, sales and acquisition of the things with this difference sign were our verbal activity and linguistic code today, and it was the essential feature of the society, culture and economy of the consumer society.

• 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.