• Cartoon and Animation Studies
• /
• s.16
• /
• pp.125-140
• /
• 2009

In the1970's, Korean movie industry was down because of widely supplied Television. During the time, directed by Kim Cheong-ki was Big hit at the box-office that is bring Korean feature animation industry back to life. In 80's, when new military regime started, SF animation was prohibited to be on air by government because that assumed have bad influences on children, and korean animation industry was faced with recession, such as various imported foreign animations which were on color TV and wildly provided video recorders. At that time, director KIM Cheong-ki try to overcome the recession of animation industry by producing, < David and Goliath>, which was based on the Bible. The Bible, was based on the historical facts and had written by the time flow, that made few changes while it was transformed to a feature animation. Animation does not only reproduce the reality as it is, but also analyzing the story to create a new reliable world, by changing characters, creating new supporting characters, and expanding and reducing of narrative. Despite of such an effort, didn't achieve it's goal at the box office and not satisfied audience either because it was excessive reproduction of the Bible, not standing on the basis of those days social and cultural environment and popularity. This study is aimed at confirming changed narrative shown Kim Cheong-Ki's, and compare it with two other animated, directed by others, so that suggest the new direction of the religious feature animation production.

• Cartoon and Animation Studies
• /
• s.50
• /
• pp.187-214
• /
• 2018

The problem-based storytelling of the three-act structure, which sees the plot of the story as a solution to the problem of the character, has been the guide of creation to the creator of popular stories since Aristotle. Also problem-based storytelling has served as a schema that provides dramatic catharsis to the audience of the story, and one of the dramatic catharsis It has been working as a schema. This problem - based storytelling has been used as a structure for story production programs that have been developed since the 1980s. However, this story authoring program is focused only on the external problem of the story, but it has the limitation of producing the story that can not solve the internal problem of the character and provide the catharsis. This paper analyze the plot structure of 'StoryHelper', which is a domestic story authoring program, and the ending of 900 films, both domestic and foreign, which are database in 'StoryHelper'. 'StoryHelper' presents a problem-based plot structure that can consider not only external problems but also internal problems by applying causality and mythical episodes. The structure of these plots is based on the parameters of external problem solving, unresolved internal problem solving, and unresolved variables maturity plot(542films), disillusion plot(111films), education plot(132films), tragedy plot(205films). The results of this analysis are expected to provide a meaningful structure for plot-based creative and creative program development.

• Korean Security Journal
• /
• no.7
• /
• pp.233-285
• /
• 2004

‘Defined legally as a violation of law' (Sutherland, E. H. Principles of Criminology, Lippincott, Chicago, 1939) Crime within the group is essentially and primarily antisocial in that the criminal who is welfare of his group acts instead against it and breaks the principles of social solidarity not merely by not doing what these principles prescribe, but by doing something exactly opposites. Any program set up to attack crime and delinquent behavior at their sources. A program of his nature needs the constant and comprehensive collaboration of psychiatrists, social works, educations, lawmakers, and public officials, since crime is a social problem and it should be treated as such. Some crime preventives which should be mentioned are as follows, (1) The insurance that every child will be decently born and that his home life be socially and economically adequate; without socially mature parents the chid is handicapped at the start; thus parental education, integrated with the public school system, should be developed now. (2) A more meaningful educational program which would emphasize ideals of citizenship, moral integrity, and respect for the law and the police. (3) A periodic check made for potential delinquents throughout the public schools and treatment provided if possible; and if not, proper segregation in institutions. (4) Careful attention paid to press, movies, and radio so that crime may no longer appear to be glamorous. This can be done by women's clubs, civic bodies, and other educational groups exerting pressure on the movie syndicates and broadcasting companies to free their productions of the tawdry and lurid characteristics of crime and criminals. Aggression associated with the phallic stage of development, The child ordinarily comprehends sexual intercourse as an aggressive and sadistic act on the part of the male, and specifically on the part of the penis. Evidence that the penis is phantasied as a weapon of violence and destruction come from unconscious productions of normal adults. Limerick, for instance, often refer to the penis as square, or too large, etc., so that intercourse is dangerous and painful for the partner, This may wall be a projection of the male's own fear of coitus. A certain portion of the death-instinct always remains within the person; it is called 'primal sadism' and according to Freud is identical with masochism. 'After the chief part of it(the death instinct) has been directed outwards towards objects, there remains as a residuum within the organism the true erotogenic masochism, which on the one hand becomes a component of the libido and on the other still has the subject itself for a object.' Criminalism, compulsive-neurotic frequent repetition of criminal acts in a compulsive manner. Like most symptoms of the compulsive-neurotic, such antisocial act are closely rated to feelings of hostility and aggression, often against the father. Because these acts are symptomatic, they afford only temporary relief and are therefore repeated. One patient with compulsive-neurotic criminalism was apprehended after breaking into hardware store and stealing money. He later confessed to many similar incidents over the preceding two years. At the same time it was apparent that he stole only for the sake of stealing. He did not need the money he thus obtained and had no special plans for using it.

• The Journal of Society for e-Business Studies
• /
• v.17 no.3
• /
• pp.85-103
• /
• 2012

This study focused on user evaluation for personalized recommender systems with the integrated view of performance of the system and user attitude of recommender systems. Since users' evaluations of recommender systems can be affected by recommendation outcomes and presentation methods, both system performances based on outcomes and user attitudes formed by the presentation methods should be considered when explaining users' evaluations. However, an integrated view of system performance and user attitudes has not been applied to explain users' evaluation of recommender systems. Thus, the goal of this study is to explain users' evaluations of recommender systems under the integrated view of predictive features and explanation features at the same time. Our findings suggest that social presence, both accuracy and noveltyhave impacts onuser satisfaction for recommender systems. Especially, predictive features including accuracy and novelty affected user satisfaction. Novelty as well as accuracy is one of the significant factors for user satisfaction while recommender systems provided usual items users have experienced when systems provide serendipitous items. Likewise, explanation features with social presence and self-reference were important for user evaluation of personalized recommender systems. For explanation features, while social presence appears as one of important factors to user satisfaction of evaluating personalized recommendations, self-reference has no significant effect on user's satisfaction for recommender systems when compared to the result of social presence. Self-referencing messages did not affect user satisfaction but the levels of self-referencing are different between low and high groups in the experiment.

• Trans-
• /
• v.6
• /
• pp.97-127
• /
• 2019

This study investigated the specific effects of dance themed movies on dance students in their passion for dance and affect. The related data is generated by choosing a method of Convenience Sampling and used a sample of 112 dance students in high school of arts which located in Seongnam-si, South Korea. The dance students divided into 3 group of school year and also 2 group of gender. The dance themed movies which are used in this research are First Position, Billy Elliot and Mao's Last Dancer. Also, the dance students were asked to answer the survey which are based on the Self-administration. In order to obtain several findings below, Frequency analysis, Exploratory factor analysis, Reliability analysis, t-test, ANOVA, Correlation analysis and Linear structural relation model were applied to the gathered data using statistics utility SAS 9.4. First, there was a significant difference between the school years in the passion for dance and affect of students after watching movies. Second, there was a significant difference in students' affect depended on their majors (dance major is divided into three specialized major which are ballet, korean dance and modern dance). Third, there was a significant difference in the passion for dance and students' affect which is irreverent to their dance career (such as years they have learned dance). Forth, there was a significant difference in the passion for dance and negative affect of 'dance' students after watching movies. To summarize, the findings demonstrate that there is a partial difference, specially significant effects on their negative affect in the dance passion and affect of dance students depended on their characteristics after watching dance themed movies.

• Lingua Humanitatis
• /
• v.8
• /
• pp.151-173
• /
• 2006

Even in this current high-tech industrial age, mythological imagination is considered important. Although each mythology scattered all across the world may have an insignificant origin, to understand that particular society fully, one must not mistakenly assume that the mythology itself is a production of a primitive mind. Ultramodern physics and futurology professor Freeman Dyson has also acknowledged this opinion. He insists that in order for human kind to survive into the far future it most keep in touch with its far past. Levi-Strauss also observes that mythology and science aren't a entirely separate domains. The scientific mind is regarded as a source of understanding the intrinsic qualities of mythology. Taking mythology and science as a binomial opposition, and only weighing their prospects, should be put to the past as we should recognize the need for mythology and science's qualitative unification. In this new point of view, regarding mythology as a meaningless irrationality should cease, while finding out why the inevitably related world of mythology needs metaphoric, ideological consideration. By utilizing 'Whale Rider' by Witi Ihimaera(2004) we will discover why our lives require an 'image' that is borrowed from our experience. The author, Witi Ihimaera, is originally from the Maori tribe, who approaches the world with a mythological imagination, which is not easy to understand with scientific thinking nor in modern civilization. When looking into the mythology of the ocean which still lives in modern civilization, while noting that the world is one, the author indicates that reality and unreality, nature and the super-natural, present and the past, science and fantasy, were not divided from the beginning. However, overtime humans have divided the borders. To do this, the author interprets the ancient emotions of the Maori tribe which have been traditionally accumulated in the group identity in a new literary way by introducing the Maori tribe's ancestral god, Paikia, who can converse with the ocean and the whales. This piece, which has been made into a movie and won awards in 5 international film festivals, including the Toronto International Film Festival, regards primitive emotions as a rational concept instead of an instrumental concept. Also these primative emotions are continuing their attempts to communicate with nature. Furthermore, it advises contemporary human beings who seek for eternal life to not exploit the cultural differences that have been formed naturally, and it is vital for human beings to transcend the ethnic boundaries and to think rationally. In the story, we can find "the dissimilar us" that philosopher E. Levinas mentioned in his sayings, which refers to responsible human beings who devote their lives for the sake of other people instead of fulfilling their own needs.

• 한국정보디스플레이학회:학술대회논문집
• /
• 2008.10a
• /
• pp.4-4
• /
• 2008

The progress in flat panel displays over the last two decades has been astonishing. In just 20 years, the LCD-TV grew up from a 2-inch curiosity, to an industry that will sell about 120 million flat panel TV's this year, with viewing area up to 4000 times larger. That success is based on continuous innovation, especially in manufacturing processes. For the next decade to bring another doubling of the business, progress will need to continue in four major areas: Human factors, ecological impact, visual quality, and of course continued drive towards affordability. This talk will detail the technology advances that can allow this industry to meet those challenges. Human factors. Today, we adapt our lifestyle to our technology. People organize their offices, and their homes, around displays. We pass around mobile phones to share images, rather than experiencing them as a group. Billions of newspapers continue to be sold daily. Advances in flexible displays can lead to large portable displays. "New era projection" includes the handheld Pico Projectors that are already on the market, and will ultimately appear integrated in mobile phones the same way cameras do today. "Eco" impact. Today TV's are one of the top energy consumers in a U.S. home, and the fastest growing. Watching a large flat panel TV can cost twice as much as running a large refrigerator. With today's concern about energy consumption, regulations are starting to emerge worldwide to limit TV electrical use. Fortunately, good solutions exist in using light management films to eliminate bulbs, saving power without increasing cost. Going forward, LED backlights will drive another step downward. OLED displays might be the ultimate solution. Visual quality. The color of an LCD-TV is still often considered inferior to a far less expensive CRT. And almost all displays suffer from representing a three-dimensional world on a two dimensional surface. The technology to improve color is available today, and will likely move from premium sets into the mainstream as costs come down. 3D is now arriving in movie theaters worldwide, and that will drive up the demand for similar realistic images in home theaters. And the technology is emerging today for 3D representation to move beyond specialized applications into everyday use, on screens large and small. Affordability. The world takes cost-down miracles for granted in consumer electronics. Each of these other advances will be balanced with a drive for affordability, especially as the market grows in emerging countries. The other three challenges must be met without increasing cost. Putting this all together, the next few years will emphasize "eco friendly" designs, and enhanced images such as 3D. By 2013 we will start to see serious penetration by emissive technologies (OLED, high efficiency plasma, or other), with the "ultimate display" likely not in the market for a decade. Lots of opportunities for innovation remain ahead of us.

• Korean journal of communication and information
• /
• v.77
• /
• pp.137-163
• /
• 2016

In the early 1900, photography, magic lantern and cinema were simultaneously introduced and experienced until the mid-1910s as mysterious and magical symbol of modern science and technology. The technology of vision, cinema in particular demonstrated its commercially expandable potentials through serial films in the mid-1910s, silent cinema in the 1920s and talkies in 1930s. I argue that a metaphor 'like a movie' which was would be spoken out by peoples as a cliche ever since the late 1910s whenever they encountered something uncanny, mysterious, and looking wholly new phenomena informs how cinematic technology worked in colonial society at the turning point to the early 20th century. Mass in colonial society accepted cinema and other visual technologies not only as an advanced science of the times but as texts of modernity that is the reason why cinema had so quickly taken cultural hegemony over the colony. Until the mid-1920s, discourse on cinema focused not on cinema itself, rather more on the theatre matters such as hygiene, facilities for public use, disturbance, quarrels and fights, theft, and etc. Since the mid-1920s and especially in wartime 1930s, discourses about negative influences and effects of cinema on behavior, mind and spirit of masses, bodily health, morality and crime were articulated and delivered by Japanese authorities and agencies like as police, newspapers and magazines, and collaborate Korean intellectuals. Theories and research reports stemming from disciplines of psychology, sociology, and mass-psychology that emphasized vulnerability and susceptibility of the crowd and mass consumers who would be exposed to visual images, spectacles and strong toxic stimulus in everyday lives. Those negative discourse on influences and effects of cinema was intimately associated with fear of the crowd and mass as well as new technology which does not allow clear understanding about how it works in future. The fact that cinema as a technology of vision could be used as an apparatus of ideology and propaganda stirred up doubts and pessimistic perspectives on cinema influence. Discourse on visual technology cinema constructed under colonial governance is doomed to be technology of mass control for empire's own sake.

• Journal of Korean Elementary Science Education
• /
• v.21 no.2
• /
• pp.263-288
• /
• 2002

'Science Garden' is a science program that develops acquirements of science & technology at an early stage through experiential study and inspire the spirit of scientific inquiry by carrying out laboratory work, science movie, science lecture, scientific work, outdoor activities, computer classes and science experiment which is hard to do through the regular educational course. It is targeted grade 4,5,6 students during summer and winter vacation. 'Science Garden' is conducted by selective participation freely. It is a wholelistic activity that develops children's potential talents or creativities, improves interest and attitude toward science, and also gives opportunity for self-realization by extending capacity for inquiry to show each student's ability. This study is observed and is compared how it is conducted in elementary school using qualitative study. This study is used narrative observation, in-depth interview and document analysis. Objects of narrative observation are two elementary schools, each from Jellabukdo and Gyeonggido, and 7 teachers were interviewed in-depthly. Here are results of the study. 1 A teacher in school G never takes part in student activities, tends to be indifferent to classes, but focuses on observation and experiment in laboratory. And feedback or evaluation about student's activity is never done. On the other hand, a teacher in school S guides students to understand the principals of science on themselves, and wide variety forms of activities such as role playing, discussion, and games are being done. But an effort to evaluate student's activity is not being made properly. 2. Teachers set a high valuation on the need of 'Science Garden'. Observing the way of conducting 'Science Garden', usually teachers who is in charge of science for official work is selected as a teacher in charge, and groan under a heavy burden of conducting it without anyone's help. Participating students are selected by volunteering or teacher's recommendation, but because of low Participation rate, teachers have difficulty in conducting it. Plan for conducting ‘science Garden’ is made 20 days before it, after getting an official document from Office of Education, refering to booklets produced by National Jungang Science Institute, or data from Office of Education, and internet. Teachers evaluate rarely Most school principals have interest in 'Science Garden' but parents are not well aware of it, The budget is made at the same time with the plan, and scale is varied between 200,000∼500,000 won. Because of the improper way of selecting teacher in charge, difficulty in selecting students, heavy works caused by planning, conducting the program, as well as reporting teacher's work, and lack of parents' awareness, 'Science Garden' has been conducted formally and superficially. Next gives you direction to change, for the right way of conducting' Science Garden'. It is important to motivate competent teachers to instruct students actively. For students' active participation, They should publicize thoroughly beforehand, and develope 'Science Garden' program for teachers to be able to make better use of it. Evaluation of student activities and program should be done in the aspect of developing students’ faculties. Beside of school facilities, they need to put diverse local facilities and places to practical use for immediate natural experience. And not only separate schools but also associated form of schools to conduct it is necessary.

• Journal of Broadcast Engineering
• /
• v.12 no.5
• /
• pp.391-400
• /
• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.