• Journal of the Korea Academia-Industrial cooperation Society
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• v.11 no.5
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• pp.1573-1579
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• 2010

In this paper, we studied efficient design of wireless transmission system for unified data transmission in a subway and railway. It is increased that need of broadband multimedia service to make useful environment for users and to support the operation of railway system. High bandwidth is better if we need more services. But, high bandwidth requires more cost at tunnel of subway. And more bandwidth makes received antenna sensitivity bad. So it needs more wireless stations. We deduced best bandwidth for subway wireless transmission system using the cost of installation and efficiency of system. Consequently, we proposed efficient service model for broadband wireless system at a subway. Subway broadband wireless transmission system is testing and extended to province subway. The cost of subway broadband wireless transmission system is saved, because the system can be efficiently designed using proposed service model. Therefore, the effectiveness of it will be expected to be very big.

• Korean journal of communication and information
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• v.66
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• pp.242-272
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• 2014

This study examines why follow-up investigative programs about the sinking of the Cheonan Patrol Combat Corvette(ROKS Cheonan) have not been produced, despite much speculation surrounding the cause of the sinking since November 2010, when KBS investigative program, In-Depth 60 Minutes which had covered the incident was aired. We have uncovered four reasons through a series of in-depth interviews with producers and reporters, as follows. First, Korean military authorities monopolized relevant information, while the producers could not prove or confirm the validity of the findings of the JIG(Joint Civilian-Military Investigation Group)'s report because the facts had been revealed partially and selectively by the authorities and the press' scientific investigation were rejected by the authorities. Second, the crew of In-Depth 60 Minutes was subjected to severe disciplinary action by the Korea Communications Commission. This caused a chilling effect, - it broke the producers' resolve to further explore the reason behind the sinking. Furthermore, the screening of the investigative documentary, Project Cheonan Ship was cancelled without prior notice, presumably by the power of the State and markets. Third, the reorganization and shake-up of personnel by broadcasting stations' presidents appointed by the power of the State crushed the spirit of PD Journalism. Finally, the "red purge" factions stigmatized by the political or military, or the mainstream press, caused the producers or broadcasters to engage in self-censorship. The idea has been used in Korea as a smoke screen to deflect public attention. Nevertheless, the producers hope to shed light on the Cheonan sinking incident and to prove reasonable doubts by pursuing follow-up investigations.

• Journal of the Economic Geographical Society of Korea
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• v.11 no.3
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• pp.442-458
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• 2008

This paper aims to examine the ways in which project-based organizations (PBOs) are embedded in social networks and geographical clustering in the case of TV drama industry. PBOs refer to a variety of temporary organizational forms for the performance of tasks as to integrate diverse and specialized intellectual resources. PEOs as a flexible and innovative mode of organizing knowledge resources are becoming increasingly worthy of attention in emerging the creative economy. Evidence from interviews with core persons of PEOs like producers, directors, and writers reveals that the key operational mechanism of the project form of organization is based on the highly socialized networks via individual's reputation and past experiences. In other words, the project activity in TV drama is embedded in networks which are socially constructed. Also the geographical clustering plays an important role in PBOs and project practices in TV drama are constructed around a high degree of spatial clustering. PBOs are clustering in Kang-nam and Yeouido, where are located in independent production companies and broadcasting stations. It means that the project formation in TV drama requires geographically-clustered networks of human resources, and socially, culturally and geographically embedded latent networks of interpersonal relationships are a necessary condition of POBs in the TV drama industry.

• Korean journal of communication and information
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• v.43
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• pp.117-151
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• 2008

This paper regards former Samsung lawyer Kim Yong-Chul's action of claiming Samsung Group's slush fund as typical Whistle-Blowing from inside. News frames in KBS, SBS TV were examined through comparative analysis. In formal feature, 'episodic news frame' hold an absolute majority in both stations. From news sources, the group of whistle-blower such as lawyer Kim Yong-Chul and civic groups was confronted with Samsung and state authorities including the Prosecutor, financial agencies. Analysis on the theme of news coverages demonstrated 5 frames: 'public announcing frame', 'news of conflict frame' 'demanding a close inquiry frame', 'declaration of conscience frame', 'causing social upheaval frame', Analysis result shows that 'public announcing frame' was most frequently used in reporting and there was distinction between KBS and SBS in 'declaration of conscience frame' and 'causing social upheaval frame'. Relatively KBS preferred 'declaration of conscience frame' and SBS would use 'causing social upheaval frame', from which reciprocal relation as media ownership could be analogized. Both media tend to make light of in-depth news coverages on structural issues or essential settlement and it is shown that both stations treated this situation with intriguing audiences as stressing sensitive parts in this event. Follow-up of changing process of 'declaration of conscience frame' through diachronic analysis on framing informs that additional exposure of 'Lee Yong Chul', former secretary in Nov 19, 2007 influenced increasing of frequency of using 'declaration of conscience frame'. However, news reporting on whistle-blower in KBS and SBS generally adheres to passive attitude of following changes in the surroundings rather than playing an active role in improving social recognition on whistle-blowing, which can induce to the spread of negative feature on it. Thus it is assumed that terrestial television broadcasting should regard whistle-blowing as contradiction in social structures and active depth reporting seems to be neded for improving social recognition on whistle-blowing.

• (The) Research of the performance art and culture
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• no.43
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• pp.293-322
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• 2021

The present study examined the scientific awareness appearing in Korean tokusatsu series by focusing on Vectorman: Warriors of the Earth. As a work representing Korean tokusatsu series, Vectorman: Warriors of the Earth achieved the greatest success among tokusatsu series. This work was released thanks to the continued popularity of Japanese tokusatsu since the mid-1980s and the trend of robot animations. Due to the chronic problems regarding Korean children's programs-the oversupply of imported programs and repeated reruns-the need for domestically produced children's programs has continued to come to the fore. However, as the popularity of Korean animation waned beginning in the mid-1990s, inevitably the burden fr producing animation increased. As a result, Vectorman: Warriors of the Earth was produced as a tokusatsu rather than an animation, and because this was a time when an environment for using special effects technology was being fostered in broadcasting stations, computer visual effects were actively used for the series. The response to the new domestically produced tokusatsu series Vectorman: Warriors of the Earth was explosive. The Vectorman series explained the abilities of cosmic beings by using specific scientific terms such as DNA synthesis, brain cell transformation, and special psychological control device instead of ambiguous words like the scientific technology of space. Although the series is unable to describe in detail about the process and cause, the way it defines technology using concrete terms rather than science fiction shows how scientific imagination is manifesting in specific forms in Korean society. Furthermore, the equal relationship between Vectorman and the aliens shows how the science of space, explained with the scientific terms of earth, is an expression of confidence regarding the advancement of Korean scientific technology which represents earth. However, the female characters fail to gain entry into the domain of science and are portrayed as unscientific beings, revealing limitations in terms of scientific awareness.