• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.33
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• pp.3-28
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• 2007

A non-documentary conditions is a condition contained in the credit without reference to the presented document in compliance therewith, thereby causing many problems to all parties involved in letter of credit transactions. The purpose of this study is to examine the regulations on the non-documentary conditions under Uniform Customs and Practice for Documentary Credits: UCP, International Standby Practices: ISP98, United Nations Convention on Independent Guarantee and Stand-by Letters of Credit: CIGSLC and Uniform Commercial Code: UCC and also the opinions on the effect of non-documentary conditions through the analysis of several cases on the non-documentary conditions. The result of this study can be summarized as follows: First, UCP, ISP98, CIGSLC and UCC stipulate that banks will deem non-documentary conditions as not stated and will disregard them. Second, courts used to permit the effect of non-documentary conditions. Finally, all parties should not attempt to put in any non-documentary conditions in order to prevent disputes on the effect of non-documentary conditions.

• The Journal of the Korea Contents Association
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• v.17 no.3
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• pp.523-531
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• 2017

This paper tried to study how the narrative to allow the audience to emotionally immerse in documentary using virtual reality platform has shown. For this purpose, it defined the VR documentary as contents what make creative approach and rebuild reality using VR media platform, and analyzed it by comparison with narrative of existing documentary. First, the contents like succeeding journey documentary use mainly virtual realty as experience of accessibility. However the contents that have purpose to experience other people's reality show from self-narrative of first person documentary to interactive storytelling of web interactive documentary. The case of interactive VR documentary is taking a step forward from web documentary and shows easy way to reach internal purpose of documentary as making experience with virtual self. The VR documentary has a lot of possibility as virtual space experience to give accessibility and virtual self.

• Journal of Korea Multimedia Society
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• v.22 no.8
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• pp.974-982
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• 2019

Contemporary narrative and documentary share across boundaries between the 'actuality' and the 'creative treatment.' The documentary has blended modes of representation from various genre to reflect the world changing. The narrative movies also has applied the historicality of 'evidence' and 'documents' from documentary to obtain the new form of realism. Boyhood shows a differentiated realism to retain both the narrative structure and the documentary temporality, containing 12 years of timeline with the limited artificial space time. Boyhood also takes the analogical concept of 'the dramatization of the actual materials' from the early documentary films.

• International Journal of Advanced Culture Technology
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• v.10 no.4
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• pp.228-229
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• 2022

This paper is about KTV special documentary "Baekdu to Halla, It's Peace Now" which looks back on the journey of President Moon Jae-in to the 3rd inter-Korean summit following former Presidents Kim Dae-jung and Roh Moo-hyun, following the 2018 inter-Korean summit held under the slogan of 'Peace and a New Future'. The documentary was produced in the form of a road documentary that looked back at the meaningful results of the summit meeting with the MC through related places and various people, narrated by singer Kang San-Ae. Based on this case, the difference between the development of road documentaries and general informational documentaries about the existing production process is identified, and the differences between the production format, production characteristics, and development method of road documentaries are described. I would like to present an example of how it can be desirable to set the format of the road documentary according to the production environment of broadcasting companies and planning factors.

• Journal of Conservation Science
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• v.26 no.1
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• pp.69-76
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• 2010

As the tangible evidence, documentary art records are permanent records to reflect the historical, symbolical, cultural and artistic value. Also, documentary art records are related with mission fulfillment of public institution and it is documentary with administrative, cultural and artistic values as the works of documentary production and application of the administrative image. "The public records management law" was the first time that administration documents were incorporated and in the act No. 3 of administrative records management, the preservation and management system of documentary art records became legislated. The management of documentary art records are difficult to categorize only by the reflect of characteristics or materials. Because documentary art records are collected in many ways and made with materials. It needs to be collected with many informations on basic materials and with the appropriate conservation and management category. Documentary art records do not have lots of demands but the level of consciousness is improving and the possibility of opening to public is increasing for improvement with the right to know. In near future, the documentary art records will be used for the interpretation of historical and cultural preservation and modern cultural heritage could have the value as it is expected. Primarily to prevent deterioration on documentary art records the standard survey card should be made to categorize the damage rate and to check the status on each documentary art records. In addition, establishing a systematic management plan for various documentary art records are needed with the training of professionals for the conservation of documentary art records.

• Journal of Science and Technology Studies
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• v.13 no.1
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• pp.145-180
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• 2013

STS studies into science documentaries for television are rare, and they do not even reflect the constructivist fruits of STS. STS have been calling for the need of analyzing 'science-in-the-making' in order to understand science more deeply. Similarly, our starting point is the assumption that science documentary can be better understood when we look into its making process. Under this assumption, we adopted the method of participant observation in analyzing 'documentary practice', trying to open the 'black box' called 'science documentary'. We have here focused on the documentary named "Light" made by a scientific documentary team of EBS, who made "Culture and Mathematics" and "Life". Each of us worked as a main consultant and an assistant staff in making "Light". We will address two main points in this study. First, based on our participant observation and interviews, we will show that the members of documentary making team are thinking about 'science' in distinctive ways. The team tended to emphasize visualization, knowledge linked to people's everyday life, and the distinctive characters of scientists who appear in the documentary. Second, by looking closely into the interaction between the team members and the consultant in the process of completing the script of the documentary, it was possible to understand how the contents of the documentary was constructed more accurately. In the making process, consultant's idea was not simply accepted by the making team, but there were conflicts and compromises. By showing this, we will be able to bring up a reflexive question about the role of consultant in the process of making a science documentary.

• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.949-960
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• 2021

Documentaries based on facts not only contain the spirit of that era but have been transformed in various ways according to changes in technologies and media. This study analyzed under the premise that the original documentary of YouTube plays a role in representing the characteristics of the medium. YouTube's original documentary is released on YouTube and then re-edited and released as a documentary film, and has the same shooting source, and is edited and described differently depending on whether it is a YouTube or a movie. This is the content that can confirm the media differences between YouTube documentary and documentary film. The cinema version shows the difference in that the narrative is developed using third-person narration and subtitles, mainly for handheld shooting and smooth editing, and the YouTube version is developing the narrative centering on audio-centric rough editing, interviews and background music. Through this, it can be seen that the YouTube version reinforces intimacy through a personal and direct expression method, while the cinema version reinforces objectivity through an official and indirect expression method.

• The Journal of the Korea Contents Association
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• v.14 no.4
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• pp.67-77
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• 2014

This study focuses on clarifying narrative strategy of the epilogue system of TV nature documentary. TV nature documentary epilogue system is different from making film. Because it has stories about production team's daily life and incidents while they make films in nature. Therefore, TV documentary epilogue system has distinctive narrative features comparing to the documentary itself. This study analyzes into the distinctive narrative features of TV documentary epilogue system. According to Frye, there are four types of narrative based on narrative structure. 'The tears of Antarctica' has achieved reconciliation between nature and human by it's narrative structure of comic romance and comic character. Therefore, comic romance's narrative features of TV documentary epilogue system overcomes tragic features of the documentary itself.

• Journal of Fashion Business
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• v.19 no.5
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• pp.48-62
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• 2015

The purpose of the study was to investigate how the Classification of the Joseon Dynasty's Beauty characteristics were expressed in a TV documentary focusing ona Re-mediation theory. The methods of study comprised of library research, Internet search, and using TV documentary program case studies. The work this Researcher makeup in the manufacture from the documentary in which the methods the Joseon. Dynasty expressed were selected. The literature, and preceding research, were referred to as a way to help organize the Joseon Dynasty's 'gi-saeng Hwang Jin-Hee', 'woman of royal family', and way of make-up of 'sadae-bu lady'. The TV documentary programs selected were 'MBC special' and '2 parts of channel A documentary special'. First, the improvisation of nature and simultaneity expressed in the Joseon Dynasty's usage of make-up is shown through the interview form reflecting the make-up tools and age direction of the scenes or expert. Second, the interactivity and reality are well seen through the row equivalent in which the model seems to directly use the dressing demonstration of the expert and cosmetics material. Third, the cultural expandability and unexpectedness show through the production of situations which are viewed from the explanation of the narration and letter subtitles and drama.

• International Commerce and Information Review
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• v.13 no.4
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• pp.275-295
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• 2011

Any attempt which requires banks to consider non-documentary conditions would destroy autonomy principle and increase the risks of the bank in L/C transactions. Therefore, non-documentary conditions are disregarded in the letter of credit. This provision was first introduced in UCP500, but later, ICC Position Paper No.3 added that if L/C requires documents related to non-documentary conditions, it cannot be disregarded. While the language in UCP600 is basically the same as that in UCP500, there is a difference between the two in that the former disregards the documents related to non-documentary conditions even if they are required by L/C. However, it should be remembered that international standard banking practice does not disregard all of non-documentary conditions. It recognizes the validity of some non-documentary conditions which it is not feasible to change into documentary conditions. That is, such non-documentary conditions as can be determined from an index specified in the guarantee or identified from the issuing bank's own records or their normal operations are recognized as valid in legal cases. ISP98 and UR00758 do not consider these as non-documentary conditions. The applicant should be cautious not to include non-documentary conditions in their applications.