• Cartoon and Animation Studies
• /
• s.41
• /
• pp.153-168
• /
• 2015

In Kyung-GI DO, An-sung, Each local autonomous entity developed the character design to inform the public relations and revitalize local economy and culture. consequently, These have got benefits with marketing local speciality related to their an-sung character; we call it name is arum, pung-mul, duck-bugi who korea traditional face characters. On the contrary, Most of old characters which have been fallen off their formative qualities became a reason that unfit (4D,3D) special film at local doom movie theater. This thesis aims to study on the character of 'namsadang' group what have been produced in ansung-si, that the show up to people about an-sung 4D Contents what local actually character and to make it more competitive through 3D,4D spacial character project developing process. It is need for new various characters, that (3D,4D-VFX) -Graphics of new an-sung'namsadang' group. that will be total different and new development. total VFX; 4-Dimantion visual graphics released in next an-sung local festival, Business prospects are bright and receiving benefits are increasing. As seen in the case of the character of in 2015, it can be a measure to earn benefits as a higher value-added business if it is managed in the local autonomous entities. In this thesis, I propose what the of character in the local special graphics; VFX style characters design. also I was show up to '4D contents character;' ; 'namsadang' group; creative processing including planing. It is possible to be ranged from special 4D series animation, a feature-length special effct cartoon film, character products, and even local doom Theme parks show up film. which are all expected high profits. These profits will be returned back to the an-sung local autonomous entity, who can use them to develop new contents, one of foundations in local economy. As a result, it is helpful to make local traits and effective tourist attractions.

• Journal of architectural history
• /
• v.18 no.6
• /
• pp.85-101
• /
• 2009

The Purpose of this paper is a study on the characteristics of Campidoglio hill plan by Michelangelo. 1. The plan of the Campidoglio hill is composed of the harmonized and united space, in spite of the existing conditions of a steep flight of land, a irregular site shape, a building of each other different dimension and form. And it is newly changed by site left through the modification of existing building elevation, utilization of existing building for new planning, connection with existing building and newly planned building from plaza composition of trapezoid form. 2. The concept of planning of the Campidoglio hill is planned by compromising for requirements of Baroque after Renaissance which urban planning characteristics of Baroque is as the relation with urban street through a inclined stairs and process such as street-approach stairs-plaza-symbol of inside plaza-building. 3. The section plan of the Campidoglio hill is planned by which can be easily approached to the plaza through the inclined stairs of gentle angle from street at the center east-west direction of main axis such as main axis, utilizing the existing site shape, and it is composed of the convex shape ascending gently at the center central part of the plaza. 4. The plan of the Campidoglio hill is composed of the elation with the axis of existing Senatorio palace, building planning of perfect balance, plaza composition of reversed trapezoid form bybuilding planning, central concentrated planning of buildings surrounding plaza. 5. The three palace of the plan of the Campidoglio hill is composed of the concept as theater which the stage background forms the front elevation of Senatorio palace higher two palace and the wings of either side of stage form the front elevation of Conservatori palace and Nuovo palace, surrounding three palace elevation around plaza of trapezoid form.

• Journal of the Korea Institute of Information and Communication Engineering
• /
• v.15 no.4
• /
• pp.803-809
• /
• 2011

In this paper, we present a very useful method for updating digital satellite radio broadcast channel information. When a devices equipped with function to receive Digital Satellite Radio such as Home Theater, MP3 player, mobile phones, car audio system and various other types of Digital Devices, receives new Digital satellite radio (will be mentioned as XM radio onwards) broadcast channel information, only the current received XM radio broadcast channel and N number of pre/post nearby broadcast channels are scanned randomly in zigzag manner. Then the previous XM radio broadcast channel information updated with the newly received XM radio broadcast channel information. Since this method can prevent batch update for all XM radio channel, including some channels which less likely did not select by user, update process for real time frequently changed XM radio broadcast channel information can be performed efficiently with minimal or without delay.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
• /
• 2010.10a
• /
• pp.285-288
• /
• 2010

In this paper, we present a very useful method for updating digital satellite radio broadcast channel information. When a devices equipped with function to receive Digital Satellite Radio such as Home Theater, MP3 player, mobile phones, car audio system and various other types of Digital Devices, receives new Digital satellite radio (will be mentioned as XM radio onwards) broadcast channel information, only the current received XM radio broadcast channel and N number of pre/post nearby broadcast channels are scanned randomly in zigzag manner. Then the previous XM radio broadcast channel information updated with the newly received XM radio broadcast channel information. Since this method can prevent batch update for all XM radio channel, including some channels which less likely did not select by user, update process for real time frequently changed XM radio broadcast channel information can be performed efficiently with minimal or without delay.

• Journal of the Korean Society of Costume
• /
• v.59 no.10
• /
• pp.137-150
• /
• 2009

Performance costumes are an important element in the stages which set the tones and embody characters in the performances. This study focuses on Gisaeng's costumes in folk dance performances when Korea experienced modernization from Joseon Dynasty, and aims to examine the features of the costumes as well as how the costumes both influenced, and got influenced by, the rapidly changing society. Gisaeng had been legal entertainment performers of the government in the Joseon Dynasty and, despite careful training and talents, had inferior social status in Joseon's social hierarchy system. In the modern society, a new system of Gisaeng emerged and the first public theater opened. The advent of theaters changed performance stages and the ways performances are conducted. This study investigated Gisaeng's performance costumes by the type of folk dances, such as monk dance, palace dance, Salfuri dance, Jangu dance, and Ip dance. The study brings light to three conclusions. First, as folk dances which had been performed by civil dancers were spread to Gisaeng, Gisaeng's costumes absorbed the costumes of civil dancers. Also, royal costumes appeared in folk dance performances. This can be viewed as mixture of royal and folk dance costumes, resulted from interactions between Gisaeng and civil art performers associated with the modernizing society and the weakening of the old hierarchical class system. Second, as performing arts on stages were modernizing, performance costumes changed accordingly. Thirdly, Giseang's costumes in folk dances also adapted the introduction of the western culture, which largely influenced the fashion trends of people in the early modern society in Korea.

• The Journal of the Korea Contents Association
• /
• v.16 no.4
• /
• pp.88-99
• /
• 2016

Traditional Performing Arts is a key element of national competitiveness that represents the identity of a country. Preserving traditional performing arts such as traditional culture overall aggregate such as literature, art, music, dance, theater and enable it to meet future national culture is to secure a competitive brand. Meanwhile, it shrouded in advance global success of K-pop and TV content, such as our popular culture, but our traditional performing arts sector, there has been a steady effort to receive the attention of the world and expanding capacity and performance. Now, this point will be a new policy approach needed to expand more popular in both domestic and world demand in traditional performing arts. In this study, we propose a strategic plan to raise the popularization and industrialization of our own needs and unique traditional performing arts opportunities for successful overseas expansion and promotion of the content of traditional performing arts.With the help of information technology.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.41 no.2
• /
• pp.197-211
• /
• 2017

Modernization drastically changed the cosmetic culture of Korea and Japan. A classic case that shows this is the appearance of the term 'Hyangjang (香粧)'. This paper investigated the background to the formation of the term Hyangjang (香粧), and reviewed the aspects of cosmetic culture that changed with the emergence of Hyangjangpum (香粧品), or cosmetics containing perfume. The investigation revealed that the term Hyangjang (香粧) appeared for the first time in Hirano (1899), a literature published in the Meiji period in Japan, and that the new term Hyangjang (香粧) had been formed against the background of advanced Western synthetic perfume and played an important role in contemporary techniques for the manufacture of cosmetics. The term Hyangjang (香粧) and cosmetics containing perfume, or Hyangjangpum (香粧品) were then introduced from Japan to Korea. In Korea, the term 'Hyangjang (香粧)' appeared for the first time in an advertising copy written by Hyeon Hui-un, a pioneer of the Korean modern theater movement during the period of Japanese colonial rule. At that time, cosmetic companies in Korea and Japan were releasing cosmetic products that contained perfume that stimulated a women's desire to purchase them by emphasizing 'fragrance' in their advertising. Existing public tendencies to regard a fragrant smell from a made-up face as vulgar were changing and the public perception of fragrance were also changing. The appearance of Hyangjangpum (香粧品) indicates that the existing cosmetic culture revolving around visual sense changed into a complex cosmetic culture involving olfaction. This change in culture is significant in that it heralded the direction of future development towards cosmetic culture that uses increase combinations of different senses including touch, taste, and hearing.

• Journal of the Korean Society of Costume
• /
• v.65 no.5
• /
• pp.126-141
• /
• 2015

The purpose of this study is to examine the works of choreographer Philippe $Decoufl{\acute{e}}$ and the performance costumes designer Philippe Guillotel, and identify the intrinsic values shown in the formative characteristics in their works. And it proposes a vision and a direction for the development and performance of modern fashion phenomenon of media convergence performing arts complex. The results were as follows. First, the performance characteristics shown in Philippe $Decoufl{\acute{e}}$'s art pattern applies dynamic improvisation, decategorization reflected in the media interactivity, time and space of a variable scalability, complex artistic genres and transcends cultural boundaries. Second, the characteristics of the performance costume can be described as a co-existence between dynamics of aesthetic layers, 'Media body' represented by the interaction of the compounds with the technology, and integrated variable expandability. And aesthetic values inherent in the performance costumes are summarized as abstraction, playfulness, reproducibility, and theatricality. Modern fashion performance and limited production of the center 'costumes' in the fashion images can be used in diverse ways, and innovative marketing has gone through a change in image production. Metaphysical text of the advanced performance genre can be presented in a new perspective to fashion derivatives 'Media body'. And the aesthetics of popular culture kitsch, the grotesque, and surrealism in theater will produce creative stage direction.

• Cross-Cultural Studies
• /
• v.36
• /
• pp.123-147
• /
• 2014

The purpose of this essay is three-fold: to trace the genealogy of the Korean musical, which ever since its inception in the 1960s has been seeking to modernize Korean theater with Broadway as a constant role model; to investigate how the national and the global conflict and are conflated in the form of the Korean musical in the process of its (dis)identification with Broadway; and to examine how its intercultural translations reveal and reflect the dilemma and ambivalence posed by globalization in our era. Drawing on Richard Dyer's signature article Entertainment and Utopia, I analyze how the Korean musical manifests and conduits competing utopian impulses of Korean/Global audiences. I also attempt to problematize the formulaic notion of Broadway musicalsthe Superior Other!which implies a global hegemony that does not, in fact, exist because the boundary between the global and the local as well as the power dynamics of global culture are not fixed but constantly moving and changing. Today's musical scene in Korea shows interesting reversals from the 1990s, when Korean producers were eager to debut on Broadway and impress American audiences. Korean producers no longer look up to Broadway as a final destination; instead they want to make Seoul a new Broadway. They import Broadway musicals and turn them into Korean shows. The glamor of Broadway is no longer the main attraction of musicals in Korea. What young audiences look for most is the glamor of K-pop idols and utopian feelings of abundance, energy, intensity, transparency and community, which they can experience live in the musical with their favorite stars right in front of their eyes. In conclusion, I delve into the complex dynamics of recent Korean musicals with Thomas Friedman's theory of Globalization 3.0 as reference. The binary formula of Global/America versus Local/Korea cannot be applied to the dynamic and intercultural musical scene of today. Globalization is not a uniform phenomenon but rather a twofold (multifold) process of global domination and dissemination, in which the global and the local conflict and are conflated constantly. As this study tries to illuminate, the Korean musical has evolved in a huge net of interdependences between the global and the local with a range of sources, powers and influences.

• Journal of Korean Neurosurgical Society
• /
• v.64 no.2
• /
• pp.289-296
• /
• 2021

Objective : Though the operating microscope (OM) has been the standard optical system in neurosurgery, a new technology called three-dimensional (3D) exoscope has emerged as an alternative. Herein, two types of 3D exoscopes for brain tumor surgery are presented. In addition, the advantages and limitations compared with the OM are discussed. Methods : In the present study, 3D exoscope VOMS-100 or VITOM 3D was used in 11 patients with brain tumor who underwent surgical resection; the Kinevo 900 OM was used only in emergency. After completion of all surgeries, the participants were surveyed with a questionnaire regarding video image quality on the display monitor, handling of equipment, ergonomics, educational usefulness, 3D glasses, and expectation as a substitute for the OM. Results : Among 11 patients, nine patients underwent neurosurgical resection with only 3D exoscope; however, two patients required additional aid with the OM due to difficulty in hemostasis. Regarding video image quality, VITOM 3D was mostly equivalent to the OM, but VOMS-100 was not. However, both 3D exoscopes showed advantages in accessibility of instruments in the surgical field and occupied less space in the operating theater. Differences in ergonomics and educational usefulness between the exoscopes were not reported. Respondents did not experience discomfort in wearing 3D glasses and thought the exoscopes could be currently, and in the future, used as a substitute for the OM. Conclusion : Although many neurosurgeons are not familiar with 3D exoscopes, they have advantages compared with the OM and similar image quality. Exoscopes could be a substitute for OM in the future if some limitations are overcome.