• 한국컴퓨터그래픽스학회논문지
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• 제18권3호
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• pp.17-27
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• 2012

본 논문에서는 영화 '7광구'에서 사용된 유체 시뮬레이션 적용 사례를 분석하고 구현된 기법들을 소개한다. 영화에 적용된 장면 중 상세한 유체 움직임을 표현하기 위하여 대형 수조에서 물이 터지면서 나오는 장면은 물의 미세한 움직임을 표현하기 위해 smoothed particle hydrodynamics(SPH) 기법을 사용하였고, 잠수정 유리를 깨고 바닷물이 쏟아지는 장면에서는 파티클과 레벨셋의 혼합 시뮬레이션 기술을 적용하였다. 영화의 주요 캐릭터인 괴물이 불타는 장면을 실감나게 연출하기 위해 높은 정교함을 보여주는 detonation shock dynamics(DSD) 화염 시뮬레이션 기법을 사용하였으며, 이때 높은 와동력을 가하더라도 유체의 비압축성을 유지하기 위해 무발산 와동 입자기법을 적용하였다. 또한, 효율적인 영상제작을 위해 업샘플링 기법을 사용하였다. 결과적으로 고품질의 영상을 국내 기술로 제작할 수 있었다.

• 지식경영연구
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• 제23권1호
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• pp.1-26
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• 2022

소셜 네트워크의 확산에 따라 플랫폼을 기반으로 한 소셜커머스는 다중 스마트 기기의 사용과 함께 빠르게 성장해왔다. 쿠팡과 티켓몬스터와 같은 소셜커머스 사이트들의 빠른 성장을 감안한다면 소셜커머스 환경에서 사용자의 구매 의사 결정 과정을 이해하는 것은 매우 중요하다. 본 연구의 목적은 첫째, 소셜커머스를 이용하는 사용자들의 목표에 대한 이해를 보다 풍부하게 발전시키고자 한다. 둘째, 사용자의 목표를 분석하기 위한 방법론적 대안을 소개한다. 본 연구에서는 래더링 인터뷰와 수단-목적사슬 분석을 활용했다. 소셜커머스를 활용한 구매 경험이 6개월 이상인 사용자 40명을 대상으로 실시한 인터뷰 분석 결과, 사용자의 목표 구조를 보여주는 위계적 목적지도가 도출되었다. 본 지도는 타인과의 따뜻한 관계, 쇼핑의 재미와 즐거움, 성취감, 만족감, 금전적 저축, 편의성 등을 포함한 소셜커머스의 22가지 궁극적인 목표를 담고 있다. 또한 활동에서부터 궁극적인 목표까지 다양한 경로가 존재하기에 사용자가 추구하는 목표를 조사하면 사용자를 이해하는 통찰력을 얻을 수 있다.

• 복식
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• 제65권6호
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• pp.99-111
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• 2015

The purpose of this study is to identify the expression methods of uncanny images shown in contemporary fashion through the visual expression methods of plastic arts. The study results are as following. First, there is a concept-forming element of 'The return of Repressed', which is a psychological mechanism for generating uncanny sets to the component of 'repression' and 'return'. 'Repression' herein consisted of 'unconsciousness', 'the other', and 'anxiety', while the return was composed of 'trauma' and 'repetition compulsion'. Second, there are visual expression methods of the uncanny in contemporary art. The subject of 'repressed things' was expressed as grotesque and having a terrible look. 'Fragmented body' was analyzed as 'dismantling' by mutilation, 'combination' placing cut body parts in other places, and 'damage' suffering from an illness or accident. 'Fear of death' was shown as 'anatomy' reminiscent of death and 'iconography of death' meaning return of the dead. 'Post-human' was a surrealistic being such as a monster and mechanized human, and was analyzed as 'gene variation' and 'cyborg'. Third, the methods of visual expression of the uncanny reflected on contemporary fashion was analyzed as 'fragmented body', 'fear of death', and 'post-human'. 'Fragmented body' appeared as the object reminiscent of the fragmented body, 'dismantling and combination of the body', and 'damage of the body' through the distortion of the clothing construction principle. 'Fear of death' visualized the characteristic elements of the subject reminiscent of death as 'iconography of death' and 'symbolic object of death' through the motif. 'Post-human' was the description of the subject beyond the body's function and form, and was shown as 'gene variation' and 'cyborg'.

• 한국식품영양학회지
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• 제30권3호
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• pp.618-626
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• 2017

The purpose of this study was to investigate the intake of energy drinks and awareness of caffeine among middle school students. The subject was 313 middle school in Incheon area. The questionnaire respondents are consisted of 133 male students and 180 female students. The recognition result that allowed multiple responses to energy drink types was recognized by hot six at 28.9%, followed by red bull 24.3%, monster energy 13.8%, wolf energy 8.0% and taurine soda 6.9%, respectively. There was a significant difference in the experience of energy drink intake, intake reason, intake time and place (p<0.05), but there was no significant difference in intake frequency and place (p>0.05). There were significant differences in experience and frequency of energy drink intake (p<0.05), but there was no significant difference in intake reason, choice criteria, intake time and place (p>0.05). The result of the perception of energy drinks according to gender was 2.25 points for male students and 2.61 points for female students in the question 'caffeine is also present in tea, green tea, cola and chocolate'. There was a significant difference between male and female students (p<0.05). As a result of the recogniton of energy drinks, "the appropriate amount of caffeine is cleared and the concentration improves." When asked, "low body weight is 2.24 points, normal 2.27 points, overweight 1.89 points, obesity 2.46 points (p<0.05). There was a statistically significant difference in body mass index (BMI) between the two groups (1.95 for low body weight, 2.10 for normal body weight, 1.62 for overweight and 2.43 for obesity). Regression analysis showed that $R^2=0.007$ and F=2.798, respectively. Significant differences were found at the significance level of p<0.05. Energy drink consumption expenditure(${\beta}=0.121$, p<0.05), sleep time(${\beta}=0.130$, p<0.05), and caffeine perception(${\beta}=-0.162$, p<0.05) were significant determinants of energy drinks intake.

• 한국식품조리과학회지
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• 제30권3호
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• pp.291-306
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• 2014

The purpose of this study was to examine the use of social commerce restaurant products by college students according to demographic characteristics and eating out behavior. The questionnaire for the survey was distributed to 450 college students, who have experiences of purchasing a restaurant product on social commerce, with 286 responses used for analysis. From the result, college students frequently use smart phones and SNS for making such purchases. While the awareness of social commerce was high, they sometimes visited the websites and purchased products. The awareness and purchase experience of Coupang and Ticket Monster turned out to be the highest. The most frequently purchased product was restaurant discount coupons, followed by fashion/accessories, movie or concert tickets, food products, and beauty shop discount coupons. The discount rate was mostly 30 to 40% on average. The most significantly considered matter in purchasing products and services was product quality, followed by discount rate and consumer review. The respondents ate out at least 3 to 5 times a week, spent $100,000{\leq}200,000$ won, and were generally satisfied with the restaurant products from social commerce sites. The main satisfaction reason was price, whereas the dissatisfaction reason was false and puffy advertising. Service quality improvement and variety of category were the most necessary factors for improvement. Among the demographic characteristics, there was a difference in purchase expenditure of social commerce restaurant products, as well as purpose, companion, time used and word-of-mouth experience according to gender. According to grade, there was a difference in purchase expenditure, companion, area of use and impulsive purchase. Among the eating out behavior, there was a difference in purpose, companion and word-of-mouth experience according to the eating out frequency. Meanwhile, there was a difference in purchase expenditure, companion, time used, word-of-mouth experience and tool according to the eating out cost.

• 만화애니메이션 연구
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• 통권34호
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• pp.105-128
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• 2014

본 연구는 4개의 성공한 미국 극장용 입체 애니메이션의 입체시차를 분석하는데 목적이 있다. 아바타(2009) 이후로, 한국에서는 입체영상이 3D 애니메이션 스튜디오에서 활발하게 제작되었으나, 아직까지 극장용 애니메이션보다는 전시 영상이나 TV시리즈 제작에 주력하고 있다. 미래에 보다 성공적인 극장용 입체 애니메이션을 제작하기 위해서는 입체시차를 분석하고 비교하는 것이 필요하다고 본다. 먼저, 미국에서 2013년에 개봉된 극장용 입체 애니메이션, 수퍼배드2, 에픽, 몬스터 대학교, 터보에서 각각 40개의 컷을 선택하였다. Vineyard의 앵글 샷 분류에 따라 23개의 다른 앵글로 분류하여 40개의 컷을 나누고, 컷에서 측정된 입체시차는 각 애니메이션 별로 4개의 도표로 표시하였다. 각 앵글별로 분석된 입체시차는 3D 입체영상 제작자들에게 수치화된 정보로 제시된다. 성공적인 극장용 입체영상제작은 한국애니메이션산업 발전에 큰 전환점이 될 것이 분명하다. 본 논문은 미국 3D 극장용 입체영상의 입체시차를 수치적으로 보여줌으로서, 보다 나은 극장용 입체애니메이션 제작을 위해, 실질적 방법을 제시하는 새로운 방안을 연구하였다.

• 한국게임학회 논문지
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• 제17권4호
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• pp.63-70
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• 2017

전 세계인의 인기를 얻었던 증강현실 모바일 게임 포켓몬고가 출시된 지 1년이 지났다. 지난 1년간 포켓몬고 게임은 사회적 현상이 될 정도로 큰 반향을 일으켰다. 그러한 열풍 속에서 본 연구는 원작 포켓몬스터 게임이 갖고 있는 이중적 게임성을 분석하였다. 캐주얼과 하드코어, 두 특성을 모두 아우를 수 있어 보다 넓은 플레이어 층을 확보하고 20년간 인기를 꾸준히 누리고 있는 포켓몬스터 게임은 캐주얼 게임의 장점인 쉽고 편한 접근성이라는 조건을 충족한다. 또한 포켓몬스터 게임의 레이팅 배틀 시스템은 캐주얼 플레이를 하드코어한 플레이로 변화시킨다. 본 논문은 포켓몬스터와 같이 장수하는 게임이 갖고 있는 이중적 플레이 특성을 분석함으로써 경쟁이 심화되고 있는 게임시장에서 장기적으로 살아남을 수 있는 게임 개발의 전략과 방향성을 제시하고자 하였다.

• 복식
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• 제63권6호
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• 한국의상디자인학회지
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• 제10권2호
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• pp.11-25
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• 2008

John William Waterhouse (1849-1917) is a painter renown for his romantic beautiful femme fatale images in the late 19th century in England. The purpose of this study is to examine the fashion in Waterhouse's femme fatale images. Waterhouse displays the devilism of femme fatale by the symbols of a wicked woman. He emphasized how wicked she is by means of water such as lake, river, and sea as well as symbols associated with demons such as forest, cave, naked woman, long hair, a monster-headed woman looking like an animal, water lily, and garden. On the other hand, he illustrates the woman's style as an image of a typical feminine beauty. Expressing naturally a fine-curved, immature girl's body with marvel-like white and clear skin in a kneeling down or crouching passive rose and depicting it as an innocent and fragile feminine image, he created a passive and lovely image of a young girl. With her eminent beauty and sex appeals, she lured men into danger. Words such as evil, women, and death had been used in describing her as femme fatale to emphasize her wickedness as well as to deliver the meaning across from the inside and to the outside. They also described her as a type of woman with body posture and fashion corresponding to the sexual ideology during the Victorian Age. His description of this fashion image was to show that femme fatale's fashion, which represents attraction and fatality, does not necessarily translate to an active fashion style that emphasizes sensuality. It also tends to minimize resistance and feelings of being threatened. Therefore, it allons us to acknowledge that even girlish body with innocent and frail-looking fashion can be a form of femme fatale, and that fashion styles is essential in forming the image of femininity.

• 영미문화
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• 제14권2호
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• pp.251-285
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• 2014

Monsters cannot speak. They have been objectified and represented through a particular concept 'monstrosity' that renders the presence of monsters effectively simplified and nullified. In contemporary monster narratives, however, the site of monsters reveals that they could be the complex construction of society, culture, language and ideology. As going into the structure that concept is based on, therefore, meanings of monsters would be seen to be highly unstable. When symbolic language strives to match monsters with a unified concept, their meanings become only further deferred rather than valorized. This shows the language of monsters should disclose the self-contradiction inherent in 'monstrosity,' which has made others—namely beings we define as 'different' from ourselves in culture or physical appearance—embodied as abject and horrifying monsters. Unable to be understood, accepted, or called humans. I analyse Frankenstein and Dracula that firmly converge monstrous bodies into a symbolic meaning, demonstrating how this fusion causes problems in the multicultural society. I especially emphasize the undeniable affirmation of expurgated others we need to have empathetic relations with, because their difference, unfamiliarity, and slight divergences are likely to be defined as abnormalities. In the multicultural society, thus, we must learn to embrace diversity, while also having to recognize there are many others that have been thought of as monsters; ironically enabling us to think about an undeniable imperative of being responsive to other people. In this respect, the monstrous inhuman goes to the heart of the ethical undercurrent of multiculturalism, its resolute attempt to recognize and respect someone else's difference from me. A focus on empathetic relations with others, thus, can strengthen the process of creating social mechanisms that do justice to the competing claims of different cultural groups and individuals.