• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.149-158
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• 2018

VR image content producers are now terrestrial broadcasters, movie studios, game companies, and VR content producers (productions). As the VR market begins to form, investment in VR image content production is also expanding. The terrestrial KBS 'Summter VR' has been produced steadily from 2016 to 2017. 2D and VR images were simultaneously broadcast. If we compare and analyze these two image data, we could get a meaningful presentation. In this paper, 'Summter VR' is analyzed by cutting the image by time. "Summter VR" was using a long take for an average of 30 seconds or more, and at the same time, it was choosing a beautiful place so as not to fall into the boredom of long take directing. Most of the images of 'SummterVR' were long take techniques using the mise en scene VR technique.

• Korean Chemical Engineering Research
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• v.48 no.6
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• pp.684-689
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• 2010

We synthesized a variety of SAPO catalysts with various structure directing agents by the hydrothermal method and applied them to the D-xylose dehydration. Single or mixtures of organic amines, viz. tetraethylammonium hydroxide(TEAOH), dipropylamine(DPA), diethylamine(DEA), morpholine and diethanolamine(DEtA) were used as structure directing agents. The $N_2$-isotherm, $NH_3$-temperature programmed desorption(TPD) and temperature programmed oxidation(TPO) were conducted to characterize SAPO catalysts. Among tested SAPO catalysts, the SAPO-34 synthesized with morpholine showed the highest furfural yield. The external surface area as well as the surface concentration of acid sites appeared to affect the catalytic activity for the dehydration of xylose into furfural.

• Archives of design research
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• v.19 no.2 s.64
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• pp.217-228
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• 2006

It is obvious that the characteristics of the media are related with the visual expression found in film and video shots. It can be assumed that there would be unavoidable distortion when the space and objects are being framed into an image by the camera and that unavoidable distortion can be utilized for creative expression. Therefore the relationship among the shape of filming zone, the structure of the image, and the strategies of disposition of camera, actors, and objects were studied in accordance with expressional attempts found in film and video images. The classified cases of the expressions found in film and video was studied from the view of the dispositions and movements of the physical elements such as camera, actors, and objects which made the designated expression possible. Finally the organization of method to arrange of the elements used for film within film zone was resulted as the expressional directing methods for filming. Later the usefulness of the method was tested by the application of the method in educational procedure and the evaluation of the analysis of the students' results.

• The Research Journal of the Costume Culture
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• v.27 no.4
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• pp.310-322
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• 2019

Since the late 2000s, fashion exhibitions have expanded to encompass a variety of concepts and sizes, and the need for research on exhibition planning, installation, and direction, including curating, is emerging. In this context, basic research is deemed necessary to encourage more experimental and in-depth research into the planning and orientation of domestic fashion exhibitions. Accordingly, by analyzing the exhibitions of Judith Clark, a pioneering fashion curator, and fashion exhibition planner, the aim of this study is to examine the characteristics and directing points of her curation. This study proceeds as follows: first, the concept and type of fashion exhibition and curation are investigated. Second, the exhibition cases curated or produced and installed by Judith Clark are examined and analyzed. Finally, based on this analysis, the characteristics and directing points of her curation are identified. In exhibitions, Clark's directing style features use of a variety of objects, the diversification of the flow-path through space division, and collaborations with various fields or experts. Clark's curation points, based on such characteristics, are as follows: reproduction-oriented curation to capture the age of the time based on historical research; storytelling-based curation; and transboundary curation with multiple methods and open processes. This study is expected to serve as a foundation and precedent that will lead to further research on fashion exhibitions and implementation.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.401-450
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• 2010

This thesis purposes to suggest that creative stage directors have copyright ownership and we make them create high-quality of theatre direction. Stage directors are sincere creator of the theatre stage today. We have little judicial precedents about stage directors, no artistic examination related directing. Stage directors are performers who have neighboring rights, there is a problem that they won't have the exclusive right of making derivative works in this country. Others will make creation (such as cinemas, animations, novels) based on stage expression without permission, because stage directors don't have exclusive right of making derivative works. Copyright law can't protect the concept of stage directors and building blocks of them which are drama text, actors and theatre space, because copyright law don't protect idea according to idea/expression dichotomy. The expression of stage direction is belong to five fundamentals which are composition, picturization, movement, rhythm, pantomimic dramatization that are come from Dean & Carra's work. Directors' work is to make theatrical works based on literary works. Therefore, theatrical works are derivative works which based on drama texts. Also, theatrical works are able to be joint works. In the case of that stage directors write drama text and create expression on the stage, they have to own authorship of both works. Merger doctrine should not apply theatre directors' works strictly like any other functional works because stage directors usually create noble expression which have been not before. We need shift of the definition of theatrical works which are derivative works or joint works to protect theatre directors' creativity. Hereafter, the special legal section for dramatic(theatrical) works including the flexible legal definition for performing arts should be established, and 'contract form' for stage directors should be made. Acting edition(literary works) should be published to grant creative directors compensation. I emphasize to grant ownership of copyright to creative stage directors, to encourage directors' works. Therefore, copyright law will be the support for development of cultural arts institutionally.

• The Journal of the Convergence on Culture Technology
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• v.10 no.2
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• pp.487-492
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• 2024

This study aims to organize the basic concepts for the technical development of holograms as a medium to go beyond the range of everyday and instrumental use to artistic and conceptual meanings, and to study various forms of expression that can be used as directing tools. As an example of the researcher's directing works and projects using the similar hologram expression form, which is called the Pepper's Ghost method or the floating hologram method as the current stage utilization technology, the technical limitations of the hologram depend on the goal of directing within the scope permitted under the theater of stage art. By analyzing the correlation between holography and stage elements and the timing and point of view to obtain emotional responses from the audience, and presenting stage alternatives, more active motivation is given to the stage expression of holograms leading to future technology development and a new field of future performing arts. I want to prepare the theoretical foundation of aesthetics.

• Korean Journal of Agricultural Science
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• v.38 no.1
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• pp.101-108
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• 2011

In forest work, working conditions are very hard to improve. The proper distribution of work time and good posture is believed to bring about direct improvements such as accident prevention. On this, this study has analyzed forest workers' posture and their working hours in order to improve their working conditions in stone channel work. Authors has chosen several core elements of stone channel work to focus on, which include stone masonry, excavation of bed, moving stone, directing work, choosing stone, and breaking stone. The ratio of real working time over total working time was shown as 84.6%. As for the time ratio of each elemental work over the real working time, the stone masonry was 60.4%, the directing work was 15.1%, moving stone was 12.1%, choosing stone was 7.1%, breaking stone was 3.3%, and excavation of bed was 2.0%. According to the analytical results provided by OWAS, the ratio of category III (Work posture has a distinctly harmful effect on the musculoskeletal system) has shown that moving stone turned out 65.2%, choosing stone was 61.5%, stone masonry was 46.1%, breaking stone was 14.3%, excavation of bed was 12.5% and directing work was 6.8%. Furthermore, the ratio of category IV (Work posture with an extremely harmful effect on the musculoskeletal system) has shown that excavation of bed turned out 37.5%, breaking stone was 28.6%, stone masonry was 27.3%, choosing stone was 7.7%, moving stone was 6.1% and directing working was 4.5%. These results are expected to be utilized for the improvement with respect to both working methods in the stone channel work and the workers' working posture.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.127-139
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• 2021

This study is intended to review the poetic directing created by the aesthetics of silence of Claude Régy, a French director who carries out playwriting in silence, departing from conventions through the concept of "potentiality" proposed by Giorgio Agamben, an italian philosopher. Claude Régy stated, "What's fundamentally important is not to say what you want to say." Thus he tries to create the stage of "silence" rendered in overly slow, excessively segmented dialogues while selecting restrained minimal means. Agamben makes Bartleby who "prefers not to" as a cardinal model of his perfect potentiality, asserting that the nature of potentiality is revealed in the pause of actuality. As in Agamben's philosophy, Claude Régy's directing is also the "pause" of words and actions. This silence is not a return to actuality but a creation of the moment at which "the invisible" become visible. The silence of words or the silence of an empty stage with dim lighting is viewed by Agamben as potentiality that has "underlying passivity" and is "hospitable to non-existnece". In this light, this study is to create another direction for the theater arts of our time and the 21^st century and to extend the horizon of new directional modes. It aldo reviews the concept of Agamben's "potentiality" that provides critical viewpoints to "the artist without content", works directed by Claude Régy who has created his own distinctive styles of direction with the aesthetics of "slowness" and "silence", L'intérieur by Maurice Maeterlinck and Quel'un va venir By Jon Fosse.

• Bulletin of the Korean Chemical Society
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• v.35 no.9
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• pp.2847-2850
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• 2014

• Proceedings of the Korea Society of Design Studies Conference
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• 2005.05a
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• pp.172-173
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• 2005