• Journal of Contemporary Eastern Asia
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• v.17 no.1
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• pp.112-129
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• 2018

Produced by Chinese local television stations, Maritime Silk Road is a documentary which adopts ancient Maritime Silk Road as a historical nostalgia to interpret "the Belt and Road Initiative", a contemporary Chinese economic, political, and cultural strategy put forward by Chinese government mainly aiming at the countries of Southeast Asia. The main body of this article has three parts and the first part analyses how the documentary adopts computer-generated imagery (CGI) to create a historical nostalgia about ancient Maritime Silk Road in the period of Imperial China. At the same time, this part also presents a sense of diasporic nostalgia of the overseas Chinese. This historical and diasporic nostalgia is related to Chinese President Xi Jinping's political discourse: "Chinese dream" that propagandises to build a strong China put forward by Xi in 2013. The second part analyses how this historical and diasporic nostalgia legitimates Xi's "Chinese dream" and how it responds to recent territorial dispute when China continuously claims its territorial sovereignty in the South China Sea. In this light, the documentary repeatedly mentions two political rhetoric: "coexistence" (gongcun) and "mutual benefit"(huli gongying) as a practical strategy to deal with the dispute between China and some countries of Association of Southeast Asian Nations (ASEAN). In the third section, the concept of "community of common destiny" (mingyun gongtongti) is adopted by the documentary to depict a convenient and effective organization of China and ASEAN, which is framed as an ultimate goal that Chinese government is depicted as the potential leader of this nostalgic community. At the same time, by providing different and even opposite viewpoints, this article discusses three controversial political rhetoric to present how historical and diasporic nostalgia is politicalized and served for Chinese diplomacy and national interest. Overall, this article argues that the documentary creates a glorious ancient Maritime Silk Road, as a sense of nostalgia, to expand China's economic and political influence, to respond to the controversial issues, and to reassert China's leadership as the centre of Asia.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.70
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• pp.1-20
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• 2016

This study is to find the accurate interpretations for the UCP600 by integrating, ISBP745, Official Opinions of ICC Banking Commission and some Case Laws suggesting the reasonable implication for the upcoming UCP. Major results analyzed by this study are as follows. First, The preclusion rule, UCP600 Article 16(c), is closely connected with the doctrine of documentary cure, so the banks requirement of Single Notice must state all the discrepancies of the documents presented. Exceptionally if the cured documents by the presenter are happened to be inconsistent the initial notice the bank can require the presenter to re-tender within the expiry date or the last day for presentation. Secondly, The Issuing Bank can utilize the right of seeking a waiver of documentary discrepancies from the applicant with the time limit of 5 banking days. If the bank wants to require an applicant to report discrepancies promptly, he may include a provision in the reimbursement engagement limiting the time limit within which the applicant must give notice of facial discrepancies. Thirdly, if a credit contains a non-documentary condition, banks will deem such condition as not states and will disregard it. According to the principle of private autonony if a credit contains a non-documentary condition to be consistent with by the parties concerned in a credit the non-documentary condition can be treated, as an effective condition itself. Fourthly, according to the Korean Supreme Court's decision, negotiation includes the method of crediting the credit amount and then transfers such funds into a special account and controls the account. Finally, UCP600 Article 33 states a bank has no obligation to accept a presentation outside of its banking hours. However, there is no rule in UCP600 in regard to a presentation after the close of business. Hopefully the upcoming UCP has to stipulates a sort of definite article to determine such ambiguous.

• Journal of the Korean Society for Computer Game
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• v.31 no.4
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• pp.37-50
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• 2018

This study multi-dimensionally analyzes "Indie Game: The Movie", The game documentary film published in June, 2012. As game industry increases, game-related documentary films are also being produced. Previous game documentary films usually focus on the success of popular game or game users and deal with the reason of success. However, "Indie Game: The Movie" centers on Indie game developers who are not from famous and huge companies. Due to the development of the game engine, these days, Indie games become a new trend that game developers are able to develop their own game freely. Then, this study has a purpose to study the life of Indie game developers and explore how and why they want to make their own game. More specifically, this study analyzes "Indie Game: The Movie" by 1) Story 2) Conflict and Resolution 3) Form 4) Sequence. As a result, it concludes that "Indie Game: The Movie" has interview section mainly and represents that Indie game developers want to develop their own games due to their ego and identity. In other words, throughout the analysis of the documentary film, it explores the reality that Indie Game developers face and many features of Indie Game in the game industry.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.108-117
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• 2018

Xiao Quan is a leading documentary portrait photographer in China. He tried to shoot portrait photographs of celebrities in the literary and artistic world. By doing this, he represented their time period. We explored the way Xiao Quan implemented the times they lived in by analyzing their portrait photographs included in . Our research showed that Xiao Quan used images of their living environments, clothes and facial expressions and composition of portraits. Such various methods of creation are a means for the symbolic expressions of their times. This research not only finds the way Chinese documentary portraits are created but also provides an opportunity to increase the value of documentary portraits as historic documents.

• Journal of Digital Convergence
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• v.15 no.10
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• pp.411-417
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• 2017

This experimental research explores the effect of background music of TV documentary which can be classified as channel factor in the field of media effect, on audience's recall memory, flow, arousal of interest, evaluation of documentary. Most previous researches of media effect focused on the effect of sender factor and message factor on audience's memory, understanding, acquirement of knowledge, attitude, action. However the number of researches on the effect of background music on audience's various dependent variables is extremely limited, especially it is very difficult to find studies on the effect of background music of TV documentary on audience. Therefore this research tries to find the effect of background music of TV documentary on audience's recall memory, flow, arousal of interest, evaluation. For this research of experiment, 2 groups of subjects composed of 101 university students were exposed to 2 different video clips of TV documentary, one with background music, the other without it, After this experiment, Questions which were designed to measure audience's recall memory, flow, arousal of interest, evaluation were asked and analysed. This research found that background music of TV documentary increased audience's flow, degree of interest and raised evaluation, However meaningful effect of background music on audience's recall memory was not found.

• Cartoon and Animation Studies
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• s.45
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• pp.479-512
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• 2016

This is a practice-based research, aiming to explore the experiments of Animated Documentary, which is a unique form can explore the mysteries and complexity of memories. Animated Documentary is a medium through which one can reveal an individual's memories within the context of a narrative that is historically situated and influenced. The marriage of animation and documentary gave birth to a new form of film. How to category this new form? Is it an animated short or documentary short? In fact, this raises issue that questioning the nature of animation and documentary. From Shuibo Wang's works, more young Chinese artists began to experiment with symbols (related to the Political Pop Trend) in visual narration, which could also be seen as a reflection of structuralism and semiology in the contemporary Chinese art field. As a case study, this paper demonstrates how animated short "Ketchup" revealed the problems of youth and social turmoil through the memories of a six-year boy. On the Festivals and conferences, the publics were shocked to know "Ketchup" based on true memories, and they were more curious why the crucial things almost be forgotten. Actually forget fulness is one of the layers of memories and Animated Documentary will offer a new way to explore how our memories are shaped.

• The Journal of the Korea Contents Association
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• v.17 no.10
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• pp.503-517
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• 2017

After a few recent documentary films had commercial success, factors for their success are getting attention. This paper explores the factors of the financial success of two documentary films. "My Love, Don't Cross That River" gained extended popularity with its universal message, and "Two Doors" conveyed a poweful political message. This paper conducted a case study by inteviewing production directors and distribution managers. Analysis was based on the three categories suggested by Litman and Kohl(1989): creative sphere, distribution-scheduling release pattern, and marketing efforts. Findings present the common factors of the two movies' success in the following areas: persons and events showing a powerful reality, a message with new and fresh insight, artistic quality, distribution strategy with timely scheduling, release time (period), public relations, and advertising.. In addition, "My Love, Don't Cross That River" was helped by a sufficient budget for scheduling/releasing and advertising. Its wide-release stratergy worked as well. "Two Doors" was aided by the government support for release and by the special factor called 'Participating viewer'. By examining the factors of documentary films' commercial success, this study has an implication for the popularization of documentary movies by indicating how to strategically apply relevant factors.

• Cartoon and Animation Studies
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• s.42
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• pp.25-52
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• 2016

Animation documentary is a hybrid genre that is newly highlighted with opposite properties. The actual world is reproduced with an unrealistic method in documentary aspect, but the objectivity of documentaries cannot be guaranteed as the boundary of actual pictures and digital images has become ambiguous. As the animation documentary by Ari Folman succeeded in 2008, the focus of this study is on 'how can fictional animations prove the authenticity of documentaries?' in which the study is mainly conducted in documentary aspect. For this, the researcher considers visual style research has important role in understanding and developing a new video genre, and asserts the necessity of research on reproduction image that is produced by the characteristics of animation which is produced in frame units. This paper has contents on the visual style of animation documentaries with pictorial reproduction methods in which animation images were classified into 3 styles based on previous research on animation documentary style. Visual styles are classified into actual image that is based on similarity with reality to deliver objective facts, image that is transformed through emphasis and omission which are factors of animations, and surrealistic image that reproduces non-visual regions such as illusions and the inner side of characters. Through this study that analyzes visual style types and characteristics, animation documentaries are expected to position as a hybrid genre that illustrates reality with a new method instead of being included in the existing reproduction method of documentaries.

• THE INTERNATIONAL COMMERCE & LAW REVIEW
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• v.42
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• pp.109-132
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• 2009

The purpose of the introduction of this article is as follows. It was frequent to put a condition on the letter of credit without stating corresponding document. But these attempts are very dangerous to the letter of credit operation. That is, if these types of conditions would be permitted in letter of credit, the independence principle must be collapsed. So these conditions must be disregarded in order to safeguard the independence principle. It is why UCP600 article 14(h) writes that if a Credit contains a condition without stating the document(s) to be presented in compliance therewith, banks will deem such conditions as not stated and will disregard it. But scope of this article 14 should not be limited by the conditions which do not state the document to be presented in compliance therewith. That is, the purpose of this article is to preserve the independence principle, so, if it is impossible to ascertain satisfaction with a condition, it should be disregarded as the non-documentary condition, even if the condition is included in the letter of credit together with document to be presented. Conclusively, whether or not a condition would be regarded as the non documentary condition depends on whether compliance of such condition is ascertained by presented documents stipulated in the letter of credit.

• International Commerce and Information Review
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• v.10 no.3
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• pp.239-261
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• 2008

Documentary credit transactions are judged by the principle of strict compliance. The compliance of the tendered documents with the credit's teams ensures the proper completion of the underlying transaction. But if the documents tendered by beneficiary differ, a discrepancy of documents occurs. Such a discrepancy raises difficult problems for the bank to which the documents are tendered. It has to decide whether to reject or accept them or to accept them under a protective mechanism. Therefore, this study is to examine the case study of complying presentation of the description of the goods in documentary credit through the Korean Supreme Court Cases. The objectives of this paper are as follow : 1. To examine two point of views on document compliance such as strict compliance and substantial compliance. 2. To analyze Korean Case Law which challenges the legal conclusions, standard for examination of documents and New ISBP. 3. To draw out the criterion for conformity and discrepancy of description in invoices and WC and to provide the guidelines for determining the nature and extent of an issuing bank's duty of documentary compliance. 4. Finally to suggest some implications through the Korean case law. By using the examination standards for description of goods suggested in Korean Case Law and New ISBP, the traders will be able to prepare documentation more perfectly and document checkers will be able to examine the negotiation documents more easily.