• The Journal of the Korea Contents Association
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• v.10 no.8
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• pp.147-158
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• 2010

The Soviet Silent Films in the 1920s, produced a brilliant prosperity in the history of world films in the cultural and artistic aspects. Among them, Dziga Vertov was a film theorists and a practitioner along with Sergei M. Einstein played a pivotal role in the contemporary soviet films at the time. But the film theories of Vetro is incorrectly recognized or specialized compared to the theories of Eisenstein. But Deleuze has stated that the short in the movie of Vertov is able to deliver a meaning and an impact and he has emphasized that a short can be significant by itself by focusing on the 'truth' which a documentary must have. His film theories are based on futurism and constructivism and use the 'kino-eye' method and 'Interval' theory to summarize and organize his movies into 'movie-truth' principal and 'life as itself' concept. Deleuze the purpose of this research is to analyze with the Vertov core of film theory and every theory of kino eye as the foundation and by comparing the Montage Theory of Sergei Eisenstein and applying Deleuze's Image Theory. Furthermore, it can be insufficient to discuss the film commercial achievements of Vertov as a result of inadequacy of previous research but it will further study his innovative methods and depth of his theories in his representation form in the documentary films.

• International Journal of Contents
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• v.4 no.4
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• pp.24-29
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• 2008

In 1920s, Soviet silent films enjoyed unprecedentedly great prosperity throughout world film history. Particularly, Dziga Vertov could develop 'montage' in collaboration with Sergei Eisenstein and thereby could work as the engines behind development and leap of Soviet films toward 'new concepts' of 'new films' worldwide. However, Vertov's original reputations - the best film theorist and avant-gardist as well as great cineaste in his contemporary age - have been misunderstood or underestimated, so that he has been still misestimated or distorted as radical formalist and documentary propagandist. In regard to these points, this study aims to take Gilles Deleuze's modal esthetic approaches to further considering and historically re-highlighting D. Vertov's film theories that are based on the principle of 'film-reality' and the concept of 'Life As It Is' according to 'kino-eye' method and 'interval' theory as a part of futurism and constructivism breaking down any attribute of traditional narrative films.

• KIEE International Transactions on Electrophysics and Applications
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• v.3C no.3
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• pp.77-80
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• 2003

An innovative ozonizer has been developed using a high frequency, surface discharge and a high purity Ti-Si-AI ceramic catalyst as a dielectric component. Using a type of thin film, a thin cylindrical compound ceramic catalyst layer was adhered to the outside surface of its inner electrode. An alternating current (AC) exciting voltage with frequencies from 0.6 KHz to 1.0 KHz and peak-to-peak voltages of 4-6 ㎸ was applied between the electrodes to produce a stable high-frequency silent discharge. A substantial reduction of the exciting voltage was also enabled by means of a thin Ti-Si-Al ceramic catalyst tube. As a result, the ozonizer can effortlessly obtain the required ozone concentration (50-60 g/$m^2$ for oxygen) and high ozone efficiency consumption power (180 g/kWh for oxygen) with-out the assistance of any particular methods. For purposes of this experiment, oxygen gas temperature was set at 2$0^{\circ}C$, with an inner reactor pressure of 1.6 atm at 600 Hz and a flow rate of 2 l/min.

• Cartoon and Animation Studies
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• s.34
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• pp.45-79
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• 2014

The purpose of this study is to propose divergence from standardization of animation acting through working on investigating gestures comprising most principal exaggeration acting elements in animation acting. For this purpose, this study utilizes animation 12 principles and Laban's effort theory. This study respectively analyzes 2D and 3D animation gesture expressions that are standards for comedy silent film and derive commonness and difference from them. In the next, this study explores the possibility of how animation can utilize acting of comedy silent film. Charles Chaplin and Buster Keaton used to be important elements referring to early animation acting, but as the recent animation technology gets advanced, they are not treated significantly any more. However, as 3D animation turns out to be chief concerns and the roles that acting, dynamics and performance play become gradually important, the necessity is on the rise that Charles Chaplin and Buster Keaton's gesture performances should more prudently be reinterpreted.

• Proceedings of the Korean Institute of Electrical and Electronic Material Engineers Conference
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• 2004.11a
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• pp.675-678
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• 2004

Ozone is usually generated from oxygen gas using a silent discharge apparatus and its concentration is less then 10 mol%. An ozone condensation system is constructed for metal oxide thin film fabrication. Ozone is condensed by the adsorption method, which is widely used for the growth of oxidation thin films such as superconductor. Highly condensed ozone is analyzed by three methods; ultraviolet absorption, thermal decomposition and Q-mass analyzing methods. Thermal decomposition method is most effective in the highly condensed ozone region and its method is superior to Q-mass analyzer for determining ozone concentration because of the simplicity of the method.

• The Journal of the Korea Contents Association
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• v.16 no.11
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• pp.776-783
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• 2016

Discussion of facial image of the movie starts is recognized as an art movie that started from silent film period. Critical discussions on the facial image initiated with the emergence of 'close-up' are performed in the context to claim the superiority of close-up format. Therefore, the trend of critical discussion on the facial image differs from two perspectives to perceive close-up in this era. The first perspective is to privilege both face and close-up since close-up is recognized as the unique tool to realize the face considering close-up as the independent body to have new aesthetic feasibility of the movie. The second perspective is to consider close-up as one of the plots in the movie language to complete its narration. In this case, it is perceived as just a short, which has no differentiation from the others, as long as the facial image does not interfere the completeness of the narration, because the characteristics of close-up to highlight the subject more than the other short is not recognized as the unique form to complete the movie, and because it has the meaning only when the subject and the format aim to maintain the completeness of the narration.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.983-987
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• 2009

The color is silent language. As the cinematography modeling of art color of film of one of element even is that a synthetical special language systematic.The color of film is very symbolic. The symbolism of color is to express in metaphor some sort of rationality and concept with some color. Now a lot of directors are obsessed with the use of color to express the symbolic meaning. Gradually, the color goes beyond the form of natural material and ascends in appearance to a kind of significant and meaningful modeling element. Thus the color's symbolic meaning has become an essential element in the color and function of the film. The paper analyzes the applications of color in films by use of the well-known director Zhang Yimou's film such as "Hero" and Michelangelo Antonioni's film "Red desert"; and then makes"Hero" with the "Red desert" in order to explain different applications and expressing practices of colors in the film and reflect the significance of color as a unique expressing language in the film.

• The Journal of the Korea Contents Association
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• v.19 no.10
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• pp.126-136
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• 2019

The film born by Lumiere brothers in 1895 was not the first. Edison, who invented the Kinetograph four years ago, has already made dozens of films. But it has been relatively undervalued. That's because the platform for projecting a movie was through a single person viewer called Kinetoscope. However, the physical characteristics of the film itself are the same as those of modern films, and have a unique aesthetic distinction compared to other early films. The subject is entertainment-oriented, and the image is characterized by contrast effect. In addition, even before the birth of the film, it shows the important creative elements and genres pursued by fictional films, and has industrial production systems and experts. If Lumiere's film is the beginning of a documentary film that portrays the fact, Edison's film deserves historical value as the beginning of popular film, which is the hallmark of modern cinema.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• Journal of Popular Narrative
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• v.27 no.1
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• pp.13-51
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• 2021

As a case study, this paper historicizes the film culture in Namchon district in Keijo(京城) based on a preliminary research on the film ephemera produced during the colonial period. Through cross-examining articles appeared in Japanese newspapers and magazines at the time, this paper empirically reconstructs the Japanese settlers' film culture in Keijo, a colonial city whose cultural environment was ethnically divided into 'Bukchon' and 'Namchon.' During the silent era, movie theaters in the Namchon district not only played a role of cinema chain through which films imported and distributed by Japanese film companies were circulated and exhibited but also served as a cultural community for Japanese settlers who migrated to a colony. The film ephemera issued by each theater not only provided information about the movie program, but also connected these Japaneses settlers in colonial city, Keijo to the homogeneous space and time in Japan proper. Both as a minority and colonizer in a colony, these Japanese settlers experienced a sense of 'unity' that could 'distinguish' their ethnic identity differentiated from Koreans through watching movies in this ethnically segregated cultural environment. In doing so, they were also able to connect themselves to their homeland in Japan Proper, despite on a cultural level. This is a cultural practice that strengthens a kind of long distance nationalism. Examining Japanese film culture through film ephemera would not only contribute to the previous scholarship on modern theater culture and spectatorship established since the 2000s, but also be a meaningful attempt to find ways and directions for film history research through non-film materials.