• Journal of Information Technology Applications and Management
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• 제29권6호
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• pp.123-134
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• 2022

War films are a general term for films that have battlefields as their main background. Although war films as a genre directly deal with combat situations, they also deal with characters or subjects related to war. War films promote patriotism and nationalism, but they also argue against war by highlighting the disastrous war. This study is based on the color theory that the meaning of film color is temporarily and infinitely generated according to the cultural differences, with Eisenstein's creative theory on film color and pathos. I wanted to clarify the pathos effect and the meaning of color green expressed in the Korean war films. In war films, colors are visualized in art forms such as symbols, similes and metaphors. In war films, color green symbolizes life. On the battlefield, the green of nature stands against the catastrophic situation. The green of ecology, which insists on the flow of life, evokes fear in ecological crises such as war, disaster and climate change. The dark green caused by a catastrophe like war warns of the destruction of life. The connotation of color is temporarily and infinitely expands according to the cultural differences. The dark green, which visualizes the battlefield of destruction, is a form and element of pathos that indicates changes in emotions such as sadness, pity, grief and despair. Pathos as an emotional appeal is a leap from the quality to the quality of the means of expression and refers to the departure from Dasein. The green color that dominates the visuals of war films is a symbol of life and functions as a pathos that makes emotional changes take a new leap. A qualitative leap through pathos means all changes that become new.

• Journal of Ceramic Processing Research
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• 제19권6호
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• pp.479-482
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• 2018

Polystyrene superstructure films show faint rainbow color, and this low color saturation limits its wide application. In this paper, polystyrene superstructure films with single bright blue color were prepared by vertical deposition self-assembly method using polystyrene microspheres with average diameter of $310{\pm}10nm$ as raw material. Polystyrene superstructure films were modified by adding nano-carbon powder, and effect of the amount of nano-carbon powde on color performance was studied. The results showed that without addition of nano-carbon powder, the superstructure films showed a faint rainbow color, while with addition of nano-carbon power, the superstructure films exhibited a single bright blue under the same natural light source. Changing the amount of nano-carbon powder addition could adjust color saturation of the film. With increasing the amount of nano-carbon powder addition from 0.008 wt% to 0.01 wt%, color saturation of the superstructure film increased gradually. Further increasing the amount of nano-carbon powder addition to 0.011wt%, color saturation of the superstructure film didn't increase anymore and tended to get dark.

• 한국염색가공학회지
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• 제15권1호
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• pp.39-47
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• 2003

Phosphorescent PET/liquid color films and phosphorescent PET/disperse dyes films were prepared by melt casting method using Hot press. Then, weight ratios and exhaustion percent of films were 0.7, 1.2, 1.5, 2.0, and 2.3 wt.%. The effects of L/C and D/D contents(wt.%) of films on the thermal properties, crystal structure, H(%), brightness$(mcd/mm^2)$, morphology, and tensile properties were investigated by means of DSC and WAXD, etc. It was found that the melting temperature and crystalline diffraction peaks were not changes with increasing the liquid color contents and disperse dyes exhaustion. Also, in case of using liquid color to phosphorescent PET film, the H(%) and brightness$(mcd/mm^2)$ value were superior to phos.PET/disperse dyes film. The tensile strength and the tensile modulus were decreased with increasing the contents of liquid color and exhaustion of disperse dyes in the phosphorescent PET film. Also, the elongation at break was increased with increasing the contents of liquid color and exhaustion of disperse dyes in the phosphorescent PET film.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.46-54
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• 2005

The Purpose of this research was focused on analyzing how costume was exactly researched for film in comparison with the original Renaissance costume, and how to change the degree of brightness and chroma in costume of two films, 'Shakespeare in Love' and 'Elizabeth: The Virgin Queen'. For these purpose, each costume of main seven scenes was analyzed in terms of silhouette, detail, and trimming. Color image, brightness and chroma of costume were compared with the color chip data from Samsung Design Net. As results, costume from two films had exactness in historical research. but the original costumes were modernly changed by the purpose of director. Color image of costume were used proper colors for the characteristic of the story. Costumes of heroine was numerically changed at the degree qf the brightness and chroma through story-going. By this change, director could effectively give dramatic rhythm for the story. The limitation of this research was that color analysis had been conducted on the screen, and this fact might mean the original colors of film might be different from those of screen.

• Journal of Information Technology Applications and Management
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• 제28권3호
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• pp.77-87
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• 2021

The color gray in the cinema expresses the private or public memory and oblivion in the reminiscence scenes. The aesthetic function and meaning of gray that interacts with other elements in cinematic time and space are expanded in various ways. This study was analyzed the cases in which gray was used as the main visual style by limiting the scope to Korean films. Based on the traditional cultural symbolic meaning of gray, I analyzed how it was applied and transformed in films, and interpreted the cultural-social meaning by the interaction between gray and other elements. In film history starting from monochrome, gray has been used as a visual device suitable for realizing cinematic or imaginary reality. Gray is adopted when dreams or recollections are visualized as imaginary reality, and it is used when dreamy imaginations of daydreaming are demonstrated. Gray, which reproduces the dreamlike reality of imagination, is the concrete and realistic way of expression. First, in Korean films, gray is a flashback visual device that recalls the past, and is an intermediary visual form that materializes the imaginary. In films such as Ode to My Father (2014), DongJu (2015), A Resistance(2019) and The Battle : Roar to Victory (2019), the gray of the past is a visual device for cultural memory that builds the homogeneity and identity of the group. In the era of hyper-visibility, gray in black and white images is intended to be clearly remembered by unfamiliarity rather than blurry oblivion by familiarity. Second, in genre films with disaster materials such as Train To Busan (2016) and Ashfall (2019), the grays of rain, fog, clouds, shadows and smoke highlight other elements, and the gray color causes anxiety and fear. In war films such as TaeGukGi: Brotherhood Of War (2003) and The Front Line (2011), gray shows a more intense brutality than the primary color. In sports films such as 4th Place (2015), Take Off (2009) and Forever The Moment (2007), gray expresses uncertainty and immaturity. Third, gray visualizes the historical memory of A Petal (1996), the oblivion in Oh! My Gran (2020) and Poetry (2010), and the reality of daydreaming Gagman (1988) and Dream (1990). At the boundary between imagination and reality, gray is a visual form of dreams, memories and forgetfulness.

• Korean Chemical Engineering Research
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• 제47권3호
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• pp.316-320
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• 2009

폴리카보네이트(polycarbonate)는 가볍고, 내충격성 및 가공성이 우수하여 광학기기의 렌즈 및 각종 건축물의 투명 소재 등에 유리의 대체품으로서 널리 이용되고 있으나 낮은 표면경도를 가지고 있어 유통 또는 사용시의 접촉으로 인하여 제품에 손상을 줄 염려가 있다. 따라서 본 연구에서는 폴리카보네이트 필름에 아크릴레이트 올리고머, 모노머, 용매, 염료, 실리콘 아크릴레이트, 그리고 광개시제 등을 다양한 함량비율에 따라 혼합한 코팅용액을 제조하고, 구성 성분의 비율에 따른 폴리카보네이트 필름의 표면 경도, 접착력, 그리고 투과율의 변화를 실험하였다. 그 결과 최대 연필 경도가 2H이고, 접착력과 가시광선 투과율이 우수한 코팅용액의 조성을 얻었다. 색상코팅 실험 결과, 기존 산화물 증착에 의해 구현하던 색상을 본 실험에서 제조한 코팅 용액을 사용하여 거의 대부분 구현할 수 있었으며, 이를 바탕으로 색상 윈도우 렌즈를 제작한 결과, 매우 깨끗하고 균일한 색상과 표면을 가졌다.

• 농업과학연구
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• 제49권3호
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• pp.521-529
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• 2022

This study evaluated the effects of agricultural reflective film and HANSPEK film on the fruit quality attributes and peel color variables of 'Fuji' apples. The reflective films were applied under the tree canopies at 20 and 30 days before harvest (DBH), and a tree with no films was used as the control. Depending on the measurement locations, the light intensity was 7.4 - 14.6% higher in the reflective film treatments than that of the control. However, no difference in the light intensity was observed between the reflective and HASPEK films. In addition, the light intensity was not also different between the 20 and 30 DBH. At harvest, the flesh firmness, fruit weight, soluble solids content, titratable acidity, and internal ethylene concentration were not different regardless of the type of reflective film and treatment time. In addition, the peel color variables were not affected in the equatorial region. However, in the calyx region, the L* and b* values were decreased, and the a* value was increased by the reflective and HANSPEK films compared with the control. Hence, the hue angle was decreased to near 0^o (red), and the peel color was improved. Therefore, this study suggests that the application of the HANSPEK film under a tree canopy could improve the fruit peel color of 'Fuji' apples.

• 한국정보디스플레이학회:학술대회논문집
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• 한국정보디스플레이학회 2004년도 Asia Display / IMID 04
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• pp.63-66
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• 2004

Transparent MgO thin films were deposited on glass substrates by electron beam evaporation of MgO (99.99%) under $O_2$ atmosphere at 150-250 $^{\circ}C$. These films were characterized for their useful properties such as thickness, transmission, and refractive index using ultraviolet / visible (UV/VIS) spectrophotometer, scanning electron microscopy (SEM), and Spectroscopic Ellipsometry. The thickness of MgO films were measured by alpha step instrument and found to be 600 nm to 1000 nm and are meeting the stoichiometry. The transmission spectrum of these films shows transmittance values ${\sim}$92%..

• 한국정보디스플레이학회:학술대회논문집
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• 한국정보디스플레이학회 2003년도 International Meeting on Information Display
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• pp.810-813
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• 2003

Application of inorganic silica-neodymia alloy films grown by sputtering technology to the dielectric layer of plasma display panel (PDP) is presented. The experimental results reveal that dielectric constant of the alloy films increases with neodymia concentration. Also, the alloy films act as band rejection color filter owing to sharp absorptions originating in the intratransition within the 4f shell of the $Nd^{3+}$ ion. In the optical band pass region, the transmittances of the alloy films show higher than those of commercial glass-like dielectrics. As a result, the luminance of PDP device with the alloy dielectric layer is higher than that of device with conventional dielectrics, indicating wider color gamut and higher color purity.

• Journal of the Korean Wood Science and Technology
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• 제17권1호
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• pp.12-21
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• 1989

This experiment was executed to investigate the characteristics of gloss and color difference in coated films by N.C. Lacquer, Aminoalkyd, Polyester. and Polyurethan coating after chemical (distilled water, ethyl alcohol. acetic acid, and sodium hydroxide) and heating ($120^{\circ}C$) treatments, cold-check test, and U.V. radiation. The results obtained were summarized as follows 1. The gloss decreasing rate by water resistance test was the least among chemicals treated on coated films. 2. The color difference of coated films chemical treatments highly and similarly increased, except the alkali treatment showing a little increase. 3. In the color difference by U.V. radiation, the polyester coated film showed generally large difference compared with the other coated films.