• The Journal of the Korea Contents Association
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• v.16 no.1
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• pp.167-178
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• 2016

This research is to understand the causal relationship between class participation motivation, acting expressiveness and psychological happiness through the class of the college students majoring in acting. For this purpose, the simple random sampling method was used and the college students majoring play and acting in the college located in Seoul and Gyeonggi-do as a sample group and total 499 questionnaires were used. For the questions, 73 questions of which the reliability and validity is examined were used. As for a data processing method, it used the statistical package of IBM STATISTICS SPSS 22 and AMOS 22 and analyzed the results by applying the descriptive statistics analysis, confirmatory factor analysis, reliability analysis and structural equation model. The conclusion of this research is as follows. Intrinsic motivation and extrinsic motivation among the class participation motivation of the college students majoring in acting have a significant effect on all sub factors of acting expressiveness and psychological happiness statically, and a motivation has no effect on it. Both personality and expressive impulse of acting expressiveness have an effect on a psychological happiness, and mobility has no effect on it.

• Proceedings of the KSME Conference
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• 2001.06d
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• pp.927-932
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• 2001

It is intended to develope an algorithm for dynamic simulation of fast-acting solenoid valves. The coupled equations of the electric, magnetic, and mechanical systems should be solved simultaneously in a transient nonlinear manner. The transient nonlinear electromagnetic field is analyzed by the Finite Element Method (FEM), which is coupled with nonlinear electronic circuitry. The dynamic movement of the solenoid valve is analyzed at every time step from the force balances acting on the plunger, which include the electromagnetic force calculated from the Finite Element analysis as well as the elastic force by a spring and the hydrodynamic pressure force along the flow passage. Dynamic responses of the solenoid valves predicted by this algorithm agree well with the experimental results including bouncing effects.

• Proceedings of the Korean Geotechical Society Conference
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• 2000.11a
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• pp.407-414
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• 2000

This paper presents measured deformation of geomembrane installed on slopes of a landfill. The layout of geosynthetics installed on landfill slopes as required by regulations is composed of, in typical, geocomposite, geomembrane, geosynthetic clay liner in turn from the slope. An effort was made to better understand the sources of external forces acting on geosynthetics and their interactions. The results of a field observation indicated that tensile stresses induced on geomebrane were far less in magnitude than predicted by the design method employing mass equilibrium of waste. This was mainly because external forces acting on slopes were not transferred from geocomposite to underlying geomembrane. A simple, but rather rational method for assessing the stability of geosynthetics against tensile stresses was proposed. This method is based on a hypothesis that external forces acting on geosynthetics are the results of downdrag of waste during waste compaction.

• Transactions of the Korean Society of Mechanical Engineers B
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• v.26 no.7
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• pp.959-965
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• 2002

It is intended to develop an algorithm for dynamic simulation of a fast-acting solenoid valve. The coupled equations of electric, magnetic, and mechanical systems should be solved simultaneously in a transient nonlinear manner. The transient nonlinear electromagnetic field is analyzed by the Finite Element Method (FEM), which is coupled with nonlinear electronic circuitry. The dynamic movement of the solenoid valve is analyzed at every time step from the force balance acting on the plunger, which includes the electromagnetic force calculated from the Finite Element analysis as well as the elastic force by a spring and the hydrodynamic pressure force along the flow passage. Dynamic responses of the solenoid valves predicted by this algorithm agree well with the experimental results including bouncing effects.

• The Transactions of The Korean Institute of Electrical Engineers
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• v.65 no.3
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• pp.445-451
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• 2016

General fuse elements of solution for fast acting operation characteristics made using silver or silver alloy, those are not able to dominate cost competition to the advanced global leaders that have not only high technology but competitive price. In this study, the method that compose the fuse elements manufactured solution of fast acting operation characteristics by using precision multi-layer thin film plating and helical cutting process from low-priced copper metal. Furthermore, in order to move rated current line of fuse due to the heat loses, the manufacture construction method of fixed resistor is introduced, and then Ni-P plating layer and Sn plating layer are introduced multiply for controling fine opening time characteristics. So this study can establish the high productive and low-priced production method.

• The Journal of the Korea Contents Association
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• v.15 no.7
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• pp.57-74
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• 2015

This paper will concentrates on martialarts acting system. I will sugest a kind of actor's training system for the safe method of action acting. In this study I solve the following problems. First, what is main factors to interfere with performer to act and how do they get rid of factors. Second, what is very economic and effective challenge to develope the new acting system for action acting performers. For this discussion I studied four parts. The first, I gives purpose and direction of the safe for martialarts actor. The second, I traces the development of contemporary idea of acting such as Stanislavsky and Meyerhold. The third I introduces Korean martialarts training system. The last I conclude which refer to effective action acting by result of training 'Korean traditional martialarts acting system'.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.70-79
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• 2013

The film language is distinguished roughly according to shot angles and size and camera movement. The film language is what the performer should be well-acquainted with in camera acting. Since the most important characteristics of acting in front of the camera lies in being with the camera, the relationship between the camera and the performers is basically mutual communication and is the inseparable relationship in which they should be well acquainted with each other. Understanding of diverse film languages for acting in front of the camera enables the performer to adapt to the media quickly and to concentrate on acting. Performance changes according to the media or environment in which acting is performed. For a good performance, the performers should be able to appropriately express their own acting according to the characteristics of the space or the media in which they do performance. Acting in front of the camera is clearly distinguished from acting on the stage in the aspects of either media characteristics or acting. With the manifestation of extemporaneousness and the discovery of the performers' personality to the extent possible, performers themselves proceed with creative works in collaboration with the director in acting in front of the camera and can attain the development of acting in front of the camera.

• The Journal of the Korea Contents Association
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• v.11 no.8
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• pp.159-169
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• 2011

Due to media's characteristics, the methods of acting expression in stage differ from that in media. However, actors playing in either genre use the same internalization as the basis of their performance. The acting arising from actors' internalization is the same in stage acting and media acting. Nevertheless, media acting, by its genre characteristics, requires a more delicate and natural acting than that in stage acting. Such is because media acting shows a far more detailed and amplified performance that is shown on screen. The purpose of this research is to examine how to differentiate the expression characteristics of media acting from the expression methods of stage acting. Through this research, I attempt to present the expression methods of media acting that can show real life acting reflecting media's distinct characteristics, with the aim of benefiting students who practice media acting or professional actors. Diverse expression methods presented by training of media acting are expected to enable actors engaged in this field to produce excellent outcomes through acting training to successfully bring out a realistic and convincing performance through internalization. And together with the opportunity to build delicate and detailed acting styles that are required in media acting, acting styles that are differentiated from those in stage acting will also be discussed.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.707-715
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• 2016

The most important role of actors is to transmit the thoughts and feelings to the audience or viewers. The expression methods of acting of each genre are clearly different. In order for the actors to act, crossing over the boundary of each genre such as movies, TV, dramas, musicals, they should understand the characteristics of each of the subdivided genres. If they understand the characteristics of the acting method different from one another and acquire the expression method to adapt to the spatial circumstances of each of the media, it becomes freer to act, crossing over the boundary of each of the genres. For the sake of this, actors must understand and acquire the characteristics of each of the genres. First of all, it is important to understand the difference between acting in the media and acting on the stage and to understand the characteristics of each of the genres.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.103-116
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• 2020

This paper starts with the recognition of the problem of the need for a link between text-centered acting and body-centered acting. This study is focused on Brecht's theory of acting to overcome loss of presence by repetition which have been discussed many times by not only actors, but also acting educators. Brecht's acting theory has already been mentioned by many researchers as an alternative to conventional actor training. However, not many studies have been conducted on practical applicable methods. The purpose of this study is to provide the basis for the actual practice of Brecht acting and possibility that his acting theory can serve as a link between text and body-centered acting theory. As a research method, we first conduct theoretical considerations on the concepts and limitations of text-centered representational acting and body-centered post-drama acting. Then distinguish between text and body-centered acting tools among Brecht's epic theatre, to summarize the terms and concepts he uses and to identify the existing effects he reaches while acting. Finally, this paper proposes an teaching model that transforms and develops Brecht's acting theory through the writer's teaching experience. However, there are limitations in generalizing its effectiveness because this study is based on the writer's experience. We hope that further research will help the diversity of acting education by developing in-depth insights on Brecht acting theory and various models of acting teaching methods.