• Journal of Korean Theatre Studies Association
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• no.48
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• pp.485-507
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• 2012

Parodos, the side entrances to orchestra (acting space), was one of the intrinsic elements for the ancient Greek theatre structure. It is worth noting that parodos was the sole structural component that remained the original form while all the other elements such as orchestra, skene, and theatron experienced drastic or gradual changes in form throughout the passage of time. On the reason for parodo's maintenance of the original form, this study suggests a possibility that parodos could be the most intrinsic among the elements for Greek theatre buildings. For evidence, this paper indicates the historical fact that the procession tradition was the key event in the national or civic festival known as City Dionysia, and that the single-direction passageway, as seen in the Panathenaic Way passing through the City Athens, could be the easiest and most efficient way to realize the cause for the procession tradition that is the citizens' participation and subsequent unification. This study suggests another possibility that the single-direction passageway in the procession could be the archetype of parodos. For evidence, this study finds that this type of passageway was ubiquitous around the City Athens especially in the Agora, the most popular place in the city and the gateway to the processional event for Dionysian Cult as well as the space for the earliest Greek theatricality and, therefore, was familiar to the citizens. From the discussion, this paper argues that the Greek theatre should be the miniature of the Agora in terms of form (single-direction passageway) and function (civic participation and unification), and that parodos was the theatrical version of the processional passageway in the Dionysian Cult. In conclusion, this paper argues that parodos played a double role. It satisfied the theatrical necessity by functioning as the passageway to dramatic action (entrance and exit of actor/chorus) and as the literal door for the entrance of the audience members. At the same time, it satisfied the social cause, that is civic participation and subsequent unification, by functioning as the processional passage to relay the theatre space to civic events for the national religious cult.

• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.50-60
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• 2015

The animation film , which became a worldwide sensation with its theme song 'Let it go', did not only rank first in the U.S. box office - it was also the greatest box office hit in the history of Disney animation. Why did , recreated into a musical animation, become a worldwide success and what were the characteristics of its materialized hybrid visual direction technique? In order to look into this, firstly, literature on musicals and animations were studied, and secondly, analysis standards were drawn for musical characteristics of musicals and direction techniques of animations. Thirdly, analyzation and investigation will be conducted on hybrid visual direction techniques based on the research above with as the example. Through this study, it's known that realizes its musical features such as 'exaggerated acting,' 'delivering the meaning of circumstances', 'dramatic expression of emotion' and etc. through animated characters and that its background music is aided by 'narrative features' through its musical composition. Besides, its snow effect through animated VFX composing scenes along with its musical characteristics realizes hybrid image direction. It can be said that image directing effects of musical animations through hybrid grafting and the characteristics of image aesthetics generate public demands worldwide.

• 한국HCI학회:학술대회논문집
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• 2009.02a
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• pp.531-537
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• 2009

When creating large crowds, it is unavoidable that the models and motions of many characters will be cloned. McDonnell implemented experiments focus on appearance and motion of characters to test user perception of crowds. As a result, appearance clones were easier to perceive than motion clones. In this paper, I researched about relation between character cloning and user perception for real-time game environment expanding McDonnell's research. This paper focuses on the way to recognition of multiple clones in dramatic environment free to change view point and has crowds move to every directions by trajectories. In particular, this paper shows the possibility of character diversification applied various shapes, colors and patterns to game item have important elements for game characters. Also, I suggests range of distances between clones by a series of experiments of user perception for clones's moving direction and distance.

• The Journal of the Korea Contents Association
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• v.10 no.6
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• pp.249-257
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• 2010

In performance art, actors on the stage play an important role. The purpose of performance art is not in producing expression of superficial or trite pleasure, but in presenting a source of philosophical catharsis regarding essence of a human life. It is actors' responsibility to bring such expression onto the stage. Performance art not only involves technical skills but should be a cultural expression to represent tradition, spirituality and identity of a nation. In Korea, performance art tends to follow Western methods of expression. It is desirable to set a future direction to further develop methodology of expression in performance art. As part of such effort, the research examines how the rhythm of traditional Korean dance and dimension of time and space in performance art are effectively visualized in their relation to "stage direction." The research illustrates characteristics and concepts of Korean dances in terms of inhalation in deliberate hypogastric breathing ("danjeon') and rhythms of exhalation (gutgeori, jajinmori, huimori). Also, the research aims to enhance dramatic effect on the stage, which is distinguished from presentation of ordinary actions, by emphasizing dimension of time and space in visualizing expression.

• Archives of design research
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• v.14 no.3
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• pp.187-196
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• 2001

With the introduction of Macintosh computer in 1984. the environment of typography design has been digitalized rapidly. Although it has been less than 20 years, typography went through dramatic changes more than any period in the design history. Digital technology saved the time and efforts in the process of design works. The new temporal and spatial elements opened new dimensions and made it possible for typography to challenge for new experiments. On the other hand, with the overuse of digital technology, design works lack of originality and quality have been produced a lot. The purpose of this thesis is to propose the direction of the typography in the turbulent digital environment. To fulfill this goal, I have researched the typographic changes due to the technical innovations, and the experimental works of pioneering designers. As a result, I propose that the direction of digital typography is to combine the strengths and value from the historic heritage as well as digital technology, and to explore new possibilities of digital typography.

• Journal of Korean Society of Industrial and Systems Engineering
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• v.38 no.3
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• pp.21-28
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• 2015

As film products are increasingly used in a wide range of areas, from producing traditional flexible packaging to high-tech electronic products, a higher level of quality is demanded. Most film products are made in the form of rolled finished goods, therefore, various quality issues related to their shape characteristics must be addressed. The thickness of the film products is one of the most common and important critical-to-quality attributes (CTQs). Particularly, the degree of thickness uniformity is more important than other thickness parameters, because it will be potential causes of many secondary thickness-related quality problems, such as wrinkles or faulty windings. To control the degree of thickness uniformity, the fixed bending region is oneof the most important CTQs to manage. Fixed bending regions are special points in the transverse direction of a rolled product with consistent minute variations of the thickness gap. This paper describes the measurement and analysis of thickness uniformity data, which were performed in a real manufacturing field of biaxial oriented polypropylene (BOPP) film. In previous researches, quality function deployment (QFD) or fault tree analysis were used to find the most critical process attributes out to controlthe CTQ of thickness uniformity. Whereas, this paper uses traditional control charts to find the most critical process attributes out in this problem. In addition, the selection of one of the major critical process attributes (CTPs) that is expected to affect the CTQ of thickness uniformity is also described. The selected critical-to-process attributes are the controlled temperatures along the transverse direction. A dramatic improvement in thickness uniformity was observed when the selected CTPs were controlled.

• 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.

• Korean Institute of Interior Design Journal
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• no.13
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• pp.130-138
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• 1997

This study is to present the visual phenomenon of natural light in the interior space. The continuously changing natural light define the visual phenomenon of the architectural space. First, the objective of this study was finding the importance of the visual phenomena which were generated from correlating natural right with the interior space. And the second was to categorize the factors of the visual phenomenon which can be useful factors for modern interior design practice. As a result of this study, two visual phenomena were classified. First; territorial phenomenon: dividing, partitioning, and sectioning by natural light, Second; phenomena by the inflow methods of natural light; a) by direct inflow; transparency, expansion, and floating, b) by filtering fixtures; the architectural structure, color, and the transluscent material, c) by dramatic spacial present of natural light, d) by the sense of direction of naturel light; continuity, and transformatiov. Found and classified each factor is not presented by itself, rather compounded forms. Because of the limited analysis of modern buildings, these found visual factors can not represent all phenomena. But if we practice these finding factors to design present interior space, it is sure of being very valuable factors to re-introduce the overlooked natural light into interior space.

• Cartoon and Animation Studies
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• s.9
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• pp.143-160
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• 2005

This study was performed on purpose to consider the charade function of props in directing animation. The prop is gradually expanded its role and scope in modern animation. Its scope covers dramatic factors, creating and changing characters, the means of psychological description or emotional expression, mise-en-scene, montage, creating products etc. Like this, the prop has an important function emotionally or indispensably in human life. Thus, the prop should be a subject that can speak to audiences or viewers, not worthless and silent subject. Hence, the prop should be recognized as a charade having productional function. Nevertheless, the prop has been unnoticed up to now. The function of props should be valued hereafter. The prop itself is meaningless, but it always speaks to audiences on the screen.

• The Journal of the Korea Contents Association
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• v.15 no.10
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• pp.66-82
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• 2015

This study looks into the differences between the two different genres of dramatic renditions on film- television dramas and movies, by studying the respective characteristics of screenplays for television and movies, and comparing the disparity in status between the powerful television drama writer and the powerless movie screenwriters as well as actual power structures within the Korean media industry. It explores the intensifying problems of high cost drama productions and poor treatment of screenwriters, as well as established practices in the movie and television industries so as to analyze problems comprehensively and seek balanced growth within these industries. The Hollywood screenwriting system is taken as a point of comparison in seeking solutions and exploring the direction that Korean film and television industries should take in the future.