• Journal of Korea Multimedia Society
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• v.25 no.9
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• pp.1356-1366
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• 2022

In the display of virtual space, the degree of space virtualization cannot be judged only by the degree of material technology. Based on the non-material relationship, the virtual space that this research focuses on is a conceptual and ontological point of view (based on the conceptual and ontological viewpoints of non-material relations), including practical technical issues. The research on the characteristics of virtual space ontology not only has an impact on the space design of science fiction movies, but also becomes a powerful medium that brings changes to the world. In the future, there will be a large number of cases where fantasy things in science fiction movies are actualized. From this perspective, based on the study of several science fiction movies using virtual reality scenes, this paper puts forward a study on the representation characteristics of virtual space ontology. In addition, the study of the virtual reality is of great significance for verifying the possibility of virtual reality in the application of deep space technology in the future. At the same time, it provides reference value for the development of special effects film field from montage theory-based to Bazin theory-based expression, and contributes to the theoretical system of film space.

• Cross-Cultural Studies
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• v.20
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• pp.275-294
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• 2010

This article examines Bong Joon-ho's science fiction/horror film, The Host (2006) and interrogates its depiction of a contemporary South Korean family in crisis. The writer considers the film as a resonant cultural artefact and a manifestation of particularly new-millennial anxieties concerned with the continued involvement of the United States in South Korean affairs, fears of an erosion of traditional family values and mistrust of officious, state endorsed bureaucracy. The Host emerges as a profoundly visceral depiction of an ordinary family set against everyone with no one to turn to except each other.

• International Journal of Advanced Culture Technology
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• v.7 no.2
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• pp.113-124
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• 2019

Stanley Kubrick's 1968 film titled 2001: A Space Odyssey has generally been considered as a monumental piece of mainstream epic science-fiction. However, this film can be evaluated as having properties of experimental cinema by boldly trying technical innovation and aesthetic experiment in various aspects. From the filmmaker's process to filmic structure, technical innovations, screening method, $mise-en-sc\grave{e}ne$, cinematic style and its (auto-)reflexivity, 2001: A Space Odyssey is highly experimental. We will attempt to separate out aspects of 2001: A Space Odyssey that derive explicitly from traditions in experimental cinema, whether adopting those traditions or innovating within them, by identifying the film's experimental strategies and relating them to other experimental films that came before and after. This will show that the purely formal characteristics of the film's conception carry meanings on their own relating to Kubrick's personal expression, ideas about cinema and philosophy that go beyond the scope of the film's narrative.

• International Journal of Contents
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• v.8 no.3
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• pp.94-99
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• 2012

Science fiction films touch coming-future themes, particularly those referring specifically to futuristic technology and its influence over human life. Dealing with the resistance of the replicants in the approaching millennium, Blade Runner brings the feat of modern civilization into doubt through the image of the dystopian future. In Blade Runner, a city is filled with waste, pollution, and dirt and a corrosive rain falls from the polluted clouds. Adorno criticizes contemporary society and its civilization. Characterizing advanced capitalist society by its total administration penetrating into every sphere of life, he contends that modern society promotes alienation, atomization, conformism, and fatalism. Blade Runner provides a chance to contemplate the problems of modern society, proposed by Adorno's critical works. Therefore, this paper attempts to analyze futuristic characteristics described in the film with Adorno's critique of modern society.

• Journal of English Language & Literature
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• v.54 no.4
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• pp.461-482
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• 2008

The science fiction was established as a typical genre of the American popular culture by the monumental releases of two series: Star Wars and Star Trek. Based on the popular science discourse, these two series have functioned as an ideological apparatus for re-appropriating Frontierism which reflects the essential values of American myth. Arguably, the SF genre owes its success mainly to the increasing popularity of science during the 1960s and 1970s, which was well represented in the space project of NASA. This power of popular science, however, tended to weaken in the 1990s as the public interest in NASA's project gradually decreased. "Deep Space Homer," an episode of The Simpson's fifth season, reflects the changing attitude of the American audience toward the new American hero created in the SF series of popular science in the previous popular culture.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2017.10a
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• pp.261-263
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• 2017

Future science fiction science film science fiction film can easily see the appearance of the futuristic inquiry. Even if a person does not open the door by force, the door is opened and closed by the system. Even now, such a door can be found easily. However, in the past, people who have not been able to perceive people have been used only in public places such as department stores and marts, where there are many people who are inundated. However, a lot of researches are being done now, and we are pursuing convenience in everyday life by integrating the image processing technology that has been developed and developed many times, by implementing the automatic door which is not infringed by the personal life and is impossible for anyone to access.

• Journal of the Korean Society of Costume
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• v.48
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• pp.133-150
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• 1999

In future what kind of costume do we wear\ulcorner We can guess it is in advance through movie. Movie is a comnipresent medium and a mode of expression that reflect a distintive feature of the times like fashion. In many case costume design which belongs to a special era is based on the historic costumes but ostume design for future movie depends on the creativity of costume designer and director. Therefore it is interesting to research how costume designer get his/her design concept for future ccostume in movie how he/hse express his/her design concept through his/her costume and can we convince the design comes true practically in future. In this study I analyze the costume design of masterpieces among SF Film: (Metropolis/1926) (2001: A Space Odyssey/1968) (Star Wars/1977) (Blade Runner/1982) (The 5th Element/1977) Because this study is analyzed not through the original article but just through movie it has some limitation in exact materials or color.

• International journal of advanced smart convergence
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• v.9 no.1
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• pp.29-36
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• 2020

We aim to reinterpret Bong Joon-ho's Snowpiercer through theory of posthumanism. Posthuman is a compound word of 'post' and 'human', which means transcendent-man. However, we would like to extend the meaning of posthuman or cyborgs as not only to "new human figure, or transcendent-man" but as to "human living in a digital age of converged technology". Through the extension of the meaning of posthuman, we would be able to not only find posthuman in Science Fiction movies but also apply it to our real world. Also, through the extended meaning, we will reinterpret all the elements from the film as cyberspace and as posthuman or cyborgs. Moreover, through examination of these "cyborg figures" in Bong Joon-ho's Snowpiercer (2013), we argue that the film is criticizing posthumanism in the reality that these days, people are losing the humanity due to the combination with the machine. It seems that he claims of the collapse of the current system, suggesting new human generation as the solution.

• Tribology and Lubricants
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• v.23 no.6
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• pp.288-297
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• 2007

Adhesion and friction tests were carried out in order to investigate the effect of temperature on the tribological characteristics of poly (methylmethacrylate) (PMMA) film using AFM. The pull-off and friction forces on the PMMA film were measured under a high vacuum condition (below $1{\times}10^{-4}$ Pa) as the temperature of the PMMA film was increased from 300 K to 420 K (heating) and decreased to 300K (cooling). Friction tests were also conducted in both high vacuum and air conditions at room temperature. When the temperature was 420 K, which is 25 K higher than the glass transition temperature $(T_g)$ of PMMA, the PMMA film surface became deformable. Subsequently, the pull-off force was proportional to the maximum applied load during the pull-off force measurement. In contrast, when the temperature was under 395 K, the pull-off force showed no correlation to the maximum applied load. The friction force began to increase when the temperature rose above 370 K, which is 25 K lower than the $T_g$ of PMMA, and rapidly increased at 420 K. Decrease of the PMMA film stiffness and plastic deformation of the PMMA film were observed at 420 K in force-displacement curves. After the heating to 420 K, the fiction coefficient was measured under the air condition at room temperature and was found to be lower than that measured before the heating. Additionally, the RMS roughness increased as a result of the heating.

• Tribology and Lubricants
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• v.16 no.5
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• pp.365-372
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• 2000

Tribological behavior of novolac resin-based friction materials with three different relative amounts of graphite and zirconium silicate was investigated by using a pad-on-disk type friction tester. The goal of this paper is to examine the effects of the relative amount of a lubricant and an abrasive in the automotive friction material on friction and wear characteristics at elevated temperature. Friction and wear of friction materials were affected by the existence of transfer film(3$\^$rd/ body layer) at friction interface and the composition of friction material, especially lubricant amount. The friction material with higher content of graphite indicated homogenized and durable transfer film, and resulted in stable friction coefficient regardless of the increase in friction heat. The experimental result also showed that the higher concentration of ZrSiO$_4$ in friction material aggravated friction stability and wear resistance due to the higher friction heat generated at fiction interface during high temperature friction test.