• Cartoon and Animation Studies
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• s.25
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• pp.65-85
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• 2011

In this essay, Japanese animator Kihachiro Kawamoto's works will be analyzed. Kawamoto made Breaking of Branches is Forbidden in 1968 and was famous for puppet animation as The Demon(1972), Dojoji Temple(1976) and House of Flame(1979) used Japanese traditional elements in his works. The themes are the agony and despair of a human being, and the narrative is developed dramatically. This is possible through a variety of techniques in animation expression. For example of this are the movement of the puppets and the lighting. In the case of Kawamoto's works, above all, it can be said that the dramatic development depends on editing - the relation of each shot to the next shot. Therefore, this analysis will focus especially on the editing of The Demon, Dojoji Temple and House of Flame. Kawamoto's method of editing will be examed and the analysis will confirm that classical continuity edting by controling space and time has been used. Namely that the effect of editing enhances dramatic development of the narrative on Kawamoto's works. This study will also discuss the benefit of using cinematic methods of in animation. Eventhough it is not essential, Kawamoto chooses cinematic method editing. Through their use, he is able to absorb the audience in the traditional Japanese world which ordinarily could be too difficult to understand through puppet animation.

• Journal of the Korean association of regional geographers
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• v.8 no.3
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• pp.326-346
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• 2002

This study examined how the tradition and culture based on the historical experience of the region are regenerated on the making regional identity and symbolic representation in Kurim-ri, Youngam. Kurim has represented the most typical community of the aristocratic class through Daedong-gae of 400 years. But, since 1970's Kurim has undergone a rapid change in regional identity in Kurim ; from the beginning of the spot of Wangin festival to the village of earthenware, the village of pottery culture heritage most recently. The process of history-making around Wangin in Kurim was connected with the strategy of the pottery culture village-making centering around the Youngam Pottery Culture Center. These projects ultimately were resulted in expression the regional identity, 'Kurim of Wang-in'. The regional tradition of Daedong-gae and Wangin in Kurim was linked together solidly through the Wangin festival procedures. And the excavation of a kiln site in Kurim which was going on with the process of history-making at the same time around Wangin in Kurim provided the cultural episode on related 'earthenware' with an archeological foundation. As a consequence of these, the cultural space, the Young-am Pottery Culture Center has came to establish in Kurim finally. However, recently the Kurim of Wangin and Daedong-gae which was representative of regional identity in Kurim is bringing Dosun who was distorted and estranged during the history-making focused on Wangin in Kurim. Now, there are some cultural issues in Kurim ; an authentical settlement of the Youngam Pottery Culture Center in Kurim and how Wangin and Dosun is linked together into the cultural strategy of 'the traditional village, Kurim'.

• Journal of Life Science
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• v.26 no.5
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• pp.592-602
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• 2016

This study investigated the muscular dystrophin levels in freely moving Australian cattle mainly fed grass, freely moving Korean cattle fed mainly a grain diet, and Korean cattle fed a grain diet but housed in a relatively limited space of a cow house. The total skeletal muscle specimens of 244 cattle were collected and immediately fixed in 10% neutral formalin. The same area was biopsied from the cattle in both countries. The findings showed that fatty infiltration is highly correlated with membrane-associated protein degradation in skeletal muscle, and that among several membrane-associated proteins, dystrophin showed the most significant reduction in expression in the cattle with fatty infiltration. Similarly, CD36 was more highly expressed in the cattle with fatty infiltration of skeletal muscle. Various breeding factors, such as oxidative stress; the presence of oxidized lipids in the diet; and environmental factors such as exercise, temperature and amount of time spent, may have critical effects on the degradation of normal cytoskeleton proteins, which are required for maintaining normal skeletal muscle architecture. Among the sarcolemma membrane-associated proteins, dystrophin is the most sensitive membrane protein that is involved muscular dystrophy and muscular degeneration. Thus, the present findings may be useful for studies on muscular dystrophy in humans or the pathogenesis of muscular diseases in animal models.

• Journal of Science of Art and Design
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• v.8
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• pp.63-94
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• 2005

ChangSayng-Do in the late Chosun dynasty was a kind of traditional painting which sublimated the philosophy and emotion of everyday life into an aesthetic consciousness through a long history of Korean people . It would represent a human wish and desire to live a long and healthy life, which was implicated by way of Taoism. The major themes of ChangSayng-Do - mountains, the sun, cloud, water, rock, deer, tortoises, cranes, pine trees, bamboos, peaches, and herbs of eternal youth - were all symbols used. to wish for a long-life and immortality in real world. All or some of these items were represented in paintings, which resulted in the various kinds of ChangSayng-Do. The main concern of this thesis will be centered around the naturalistic subjects shown in ChangSayng-Do. This thesis consists of four chapters. The first chapter describes the purpose of and need for the research, and its method and scope. The second chapter deals with the origin and style of ChangSayng-Do, and the background of its formation. It is found out that the formative characteristic of ChangSayng-Do lies in the archetype, the unity of man and nature following the traditional view of nature. It is also found out that ChangSayng-Do implied the notions of Supernatural Being, Yin-Yang and Five Elements, Taoism, and Confucianism as well as Korean shamanism. Third chapter is largely about an analytic investigation into symbolic visualization of ChangSayng-Do. Firstly, the subject matters shown in ChangSayng-Do consist of items of wishful omen for long-life and good luck, and any motif in a picture implies a symbolism of eternal youth and long-life. Secondly, the view of colors shown in ChangSayng-Do is closely connected to Five Elements and Five Direction, a traditional oriental philosophy of universe, and these symbolic colors are based on shamanism and Yin/Yang-Five Elements. According to an iconological analysis, it is confirmed that these viewpoints are consistent with formative principles and expressive methods of ChangSayng-Do to some extent. The fourth chapter is one of the most important elements for visualization of ChangSayng-Do. The symbolic meaning of long life and good luck is the major source of its popularity inside the palace as well as among the people in general. The fact that ChangSayng-Do was used to ornament the palace was documented in $\lceil$UiGuey(documents about Chosun dynasty$\rfloor$. Also during the late period of Chosun dynasty, the appreciators of arts had begun to spread from high level class to lower level class, and many pictures represented in $\lceil$Hanyang-Ga$\rfloor$ were the ones produced and circulated for those increased consumers. As for the folk-artistic characteristics, the anonymity and arbitrary naturalness of ChangSayng-Do demonstrates that the folk-artistic elements were fully soaked into the life styles of people in general. ChangSayng-Do further shows that a human being is located in the center of the universe, and that all the natural phenomena and ecology are observed to happen around human beings, and that the results of those happenings are connected to man's course of life. It is discovered that the subject matters of ChangSayng-Do in the late Chosun dynasty imply another idea inside metaphors and symbols. With regard to the arrangement of time and space, the unity or oneness of oneself with the world is more highly regarded than one's individual subjectivity: there exist multiple times and spaces in a single picture This reveals a wholistic view of oneness which does not permit the division between phenomenon and substance. To conclude, this thesis inquired into ChangSayng-Do in the late Chosun dynasty focusing on the expression of archetype-symbols. And through the analysis and demonstration, this thesis re-established constructional principles and formative characteristics of ChangSayng-Do and then settled a new phase of ChangSayng-Do, with a deep under-standing of fundamental thoughts of Korean people underlying ChangSayng-Do.

• Cartoon and Animation Studies
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• s.33
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• pp.223-246
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• 2013

Even though cartoons and narration comics were born from different origin, they have been called by names such as 'cartoons' or 'comics'. The reason can be found in the similarity of cartoons and narration comics. The similarity of cartoons and narration comics is the genre consisting of writing and drawing. Writing can be the format of expression and it can represent the story. Such story is present as a component of 'narration'. Sub genre of comics includes cartoons and narration comics. It includes animation in a broad range. In cases of narration comics and animation, it is thought that narration is present with continuity of time. However, in case of cartoon, because one or two cuts without continuity of writing are frequently expressed, it is being asked whether narration is present. It is easy to be reminded of epic or chanson de geste whenever you hear 'narration'. Since it deals with a biography of the character, we think the concept of 'narration' with temporality. However, narration provides a certain event in a broad range. Thus, cartoons presenting one event with the image may have the existence of narration, because description of multiple scenes of narrative comics can be implicitly represented in cartoons. As such implications leave a space, the empty space can be filled by active reasoning of recipients. However, nevertheless, it is very difficult to find studies as well as mentions of narration in cartoons. Thus, in this paper, we investigate the concept and structure of narration and demonstrate the presence of narration in cartoons. First of all, we looked at the narration theory in literature before studying narration in cartoons. The reason is that we thought the approach to the literary theory was required in order to investigate the basic elements, since cartoons are a collection of writing and drawing. We were focused on the prerequisites of narration presented in "story and discourse" of s. Chatman. If the prerequisites of narration are present, we can assume that the narration is present. The prerequisites are 'narration reasoning', 'screening', 'consistency', 'process statements' and 'stasis statement'. As s. Chatman described them as prerequisites of narration, he analyzed the narration structures of films and novels. In addition, we revealed that the narrations were present in cartoons as we identified how prerequisites of narration presented by Chatman were presented and expressed through "vocabulary of comics", "Timeframe" and "life in the line" described in "understanding comics" by Scott McCloud.

• (The) Research of the performance art and culture
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• no.43
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• pp.293-322
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• 2021

The present study examined the scientific awareness appearing in Korean tokusatsu series by focusing on Vectorman: Warriors of the Earth. As a work representing Korean tokusatsu series, Vectorman: Warriors of the Earth achieved the greatest success among tokusatsu series. This work was released thanks to the continued popularity of Japanese tokusatsu since the mid-1980s and the trend of robot animations. Due to the chronic problems regarding Korean children's programs-the oversupply of imported programs and repeated reruns-the need for domestically produced children's programs has continued to come to the fore. However, as the popularity of Korean animation waned beginning in the mid-1990s, inevitably the burden fr producing animation increased. As a result, Vectorman: Warriors of the Earth was produced as a tokusatsu rather than an animation, and because this was a time when an environment for using special effects technology was being fostered in broadcasting stations, computer visual effects were actively used for the series. The response to the new domestically produced tokusatsu series Vectorman: Warriors of the Earth was explosive. The Vectorman series explained the abilities of cosmic beings by using specific scientific terms such as DNA synthesis, brain cell transformation, and special psychological control device instead of ambiguous words like the scientific technology of space. Although the series is unable to describe in detail about the process and cause, the way it defines technology using concrete terms rather than science fiction shows how scientific imagination is manifesting in specific forms in Korean society. Furthermore, the equal relationship between Vectorman and the aliens shows how the science of space, explained with the scientific terms of earth, is an expression of confidence regarding the advancement of Korean scientific technology which represents earth. However, the female characters fail to gain entry into the domain of science and are portrayed as unscientific beings, revealing limitations in terms of scientific awareness.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.49-61
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• 2019

This study aims to examine the spatial recognition of the characters who visited Anuisamdong(安義三洞) in the past and left it in the literature. Thus, the school's relationship between people identified in the relevant literature was analyzed and the elements of landscape were extracted. The results were as follows; First, The figures who authored the literature on Anuisamdong were related to scholars living in Anuihyun(安義縣), along with the Yeongnam confucian genealogy. Starting with Jung, Yeo-Chang(鄭汝昌) in the 15th century, a relationship centered on Nammyeong School(南溟學派) in the 16th century was formed. At that time, people had toured the Anuisamdong regardless of the academic background. In the 17th century, Nammyeong School were in conflict with Toegye School(退溪學派), so Toegye School's influence had no record. In the 18th century, the proportion of Nammyeong School, Toegye School, and Kiho School(畿湖學派) appeared similar as they evolved into the Yeongnam School(嶺南學派). After the 19th century, the proportion of patriots who participated in the anti-Japanese movement was higher than that of schools. Second, The main places used in the literature related to Anuisamdongwere the order of Wonhakdong(猿鶴洞), Hwrimdong(花林洞) and Simjindong(尋眞洞). There are a total of 21 major elements used for the related literature, of which Suseungdae Rock(搜勝臺), Morijae House(某里齋), Nongwaljeong Pavilion(弄月亭), Sasundae Rock(四仙臺) and Cheoksuam Rock(滌愁巖) were the main subjects. Elements of Wonhakdong have been in the spotlight since the 16th century, focusing on Suseungdae Rock. Although the elements of Hwarimdong have been increasing gradually since the 18th century, the ratio of Simjindong to Wonhakdong and Hwarimdong was relatively small. Third, The relationship between the figures who visited the Anuisamdong and the spatial recognition of the Anuisamdong was divided into landscape awareness, emotional awareness and symbolic recognition. The Anuisamdong's scenic view is mostly identified by its description of the waterscape and topographical landscape, which people may have perceived as a scenic site centered on the valley view at the time. The mutual influence of Nammyeong School and Toegye School in the 16th and 17th centuries led to a scene in which the major figures of each school recognized pleasure as a culture of training, and a feeling of longing for the traces of past ancestors as the 18th century travel culture and the 19th century chaotic situation. In addition, the symbolic expression that usually appears is likely to have been recognized as a unworldly place, as the location of the immortal world is confirmed.

• Journal of Korean Theatre Studies Association
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• no.53
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• pp.31-56
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• 2014

If we define theatre as an infinite tower piled up by smoke, the strata of the organic composition of an actor's/actress' body-mind-spirit, may not only be complicatedly worked out, but it seems to belong to a non-scientific realm. However and at the same time, it is also true that the audience is eager to witness a certain kind of specific vitality from the actor/actress on stage. Of course the vitality is hard to be prescribed. Simply we call it a texture of energy, nuance of existence, or much simpler, an actor's/actress' 'aura'. That is, the existential nuance of the actor/actress. The nuance, which is surging from the actor's/actress' authentic presence, ultimately comes out of, not the circumstantial interpretation of the production but the power of its integration. We can find from the works of Meyerhold, Grotowsky and Barba the theatrical fact that the actor's aura can be obtained by a kind of artificiality rather than innate characteristics of existence. These directors commonly regard theatre as the actor's/actress' theatre. Respectively choosing his own specific methods of expression, they unexpectedly meet in a same spot in which actor's/actress' theatre can be realized by the rediscovery of the actor's/actress's body-form. In other words, their approaching methods to theatre look alike, at least in that abandoning reserving any natural, unconscious, economic body-form of an actor/actress, they rather try to discover a certain kind of 'technical' body-form. The form which is totally non/un-conscious, unfamiliar and non-economical. Their research process explores an ideal body-form, and this thesis focuses on this point. For this work, I bring the notion of 'liminality' that connotes the praxis for essential presence of the actor/actress as well as the incubating time and space nacessary for his/her rebirth. And for developing this work, I ask: Could not the actor's/actress' consciousness and the spatiotemporal dimensions (s)he meets, be possibly defined as the core of liminality, only in case that (s)he requires them in the process of, either exploring the unfamiliar body or familiarising with the unfamiliar body-form? As I mentioned above, the three frontiers' theatrical journey is similar in part. For example, three all start from the actor's/actress' consciousness and then go through the body enlarged with it. Then they continue their journey, but different from one another. Meyerhold still uses the conscious body. But now he transforms it into a kind of mobilized sculptures. In comparison with Meyerhold's use of the consciousness, Grotowsky puts his emphasis on an autonomous body which, if necessary, cast away even the innate consciousness. Likewise, to Barba, theatre always starts from the actor/actress who has already taken off all kinds of conventions. (Conventions should be re-designed!) The actor/actress therefore recreates him/herself as his/her body-mind wears a new, unfamiliar, readjusted form and vitality. And then this restructured body-mind may unceasingly aim at exploring its vitalized 'positive organism', that is the waves of self-centering energy, an existential nuance, and an authentic (or maybe behavioral) expressiveness. Now it seems clear that the liminal process for the frontiers' theatrical journey could be equalized as a profound process of self-penetration, self-transformation, and self-realization. This thesis explores the mystic realm of liminality.

• Journal of the Korean Institute of Landscape Architecture
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• v.20 no.3
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• pp.64-78
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• 1992

In this study, elementary school students of both urban and rural areas as its subjects were asked to draw 'A beautiful landscape' by employing the perspective representation technique, i. e., the Perception Map, and to write down the elements comprising 'A beautiful landscape' in the questionnaire sheets. By doing so, an attempt was made 1) to analyze whether there are differences in perceiving 'A beautiful landscape' according to the differences of the environment in which they were brought up ; and, if there are differences. 2) to identify them ; and based on that , 3) to present basic data for evaluation on landscape, on its preference analysis and for Park Planning. The summary of this study is as follows ; 1) The main elements, elementary school students think, comprising 'A beautiful landscape' are 25 ones such as Sky(7), Sea(2), Water(2), Topography(5), Plants(5), Animals(3), School(1), Rural village(1). The natural elements showing a difference are ; Water fall in urban areas and School landscape in rural areas ; the artificial elements are ; City groups(Structures, Facilities, Necessities, Transportation means and Space) in urban areas and School groups in rural areas. Especially, in case of rural area children, they regard 'Trees' as an essential element to be 'A beautiful landscape' comparing to those in urban areas. 2) According to the analysis result on the correlation between the elements comprising a beautiful rural landscape and a beautiful ruban landscape, the correlation between boys and girls is high, showing the same trend with any difference. In comparison of urban areas with rural areas, there is no difference between natural elements, but in artificial elements(7 groups without family) the correlation is quite low, showing that all comprising elements are not the same between rural schools and cities, between schools within the same areas, and between schools of different areas. 3) In identifying the names of elements comprising 'A beautiful landscape', Back-Du Mountain and Sorak Mountain are shown the highest frequency in the category of mountains. In the names of trees and flowers, the elementary school children are thought to consider the kinds of trees and flowers they can see always at hand, i. e., those in their school ground where they spend most of their day time. 4) In the analysis of the numbers of comprising elements according to the responses in the questionnaire sheets and in the Perception Map, 'less than 10' is the most frequently counted number of comprising elements by individual students regardless of rural and urban differences. When the total frequency is divided by the number of students, the mean score is 6-7 without any differences between rural and urban areas, implying that there are no differences in the expression ability between urban and rural schools. 5) According to the result of classyfying and analysizing the landscape appeared on the Perception Map by similar elements and by similar scenes, 'A beautiful landscape' thought by elementary school children is defined not as a standardized form but as 11 types such as the landscape of fields, the landscape of a sea, the landscape of a rural village, a type where elements are assembled, the landscape of cities, the landscape of a school, the landscape coming out of a imagination, and other landscape. Both rural and urban children all consider the landscape of mountains and field and the landscape where several elements are assembled as a commonly beautiful one. Among the landscapes showing rural and urban differences, it can be analyzed that urban children regard the landscapes of cities, imagination, and waterfalls as something characteristic, while rural children regard the landscape of schools and rural villages as something characteristic.

• (The) Research of the performance art and culture
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• no.39
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• pp.69-96
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• 2019

North Korea has conserved operas in a selective manner. The subject matters of operas recorded in the history of North Korea can be divided into classical tales, translated foreign works, Korean War and war against Japan. Operas that adapted folk classics of the 1950s are considered valuable materials to verify the changes of genres posterior to division of regime between North and South Korea. The officially confirmed works include "Kumgangsan Palseonnyeo (Gyeonwoo Jiknyeo)," "Chunhyangjeon." "Kongjwi Patjwi (Kotsin)," "Ondal," and "Geumnaneui Dal." These works had gone through recreation in terms of realistic situation setting, abolition of class difference, adjustment of social rank and punishment of evil while the base lies in the original folk classics. People emphasized in adapted folk operas are described as those who are hard-working souls without giving importance of difference of social rank, content with the currently living space, devoted to their parents and full of patriotic spirit, and members of community who participate in organized fights against unfair exploitation. This was the fruit of encouragement of work creation supporting union between labor and individual life, destruction of old things and fight promoting this destruction. Folk operas of South and North Korea posterior to Korean War have similarities in that both deal with a love story transcending social ranks and the concomitant conflicts and they focus on the audience who enjoy the operas. Nonetheless, they are different in that this love in North Korea became a tool of educating people wished by the regime, while it became an object of securing the audience by adding the tragic element to love in South Korea. North Korean operas of the initial stage are characterized by playwriting method emphasizing difficult life and compensation of common people, realistic stage expression, accentuation of melody and agreement between notes and lyrics. This was efforts designed to continuously lead senses concentrated from the theater to everyday life of people. In effect, this is in line with the playwriting method of revolutionary operas. Adapted folk operas were subject matters ideal for easily approaching the audience and leaving them good memories at the same time. To realize socialist realism, they went through an experiment of reviewing "people" through the classic folk operas. The possibility of continuation of a work was determined by thorough evaluation after carrying out an experiment in terms of subject matters, theme, music and operation plans from the moment of which the work was on the stage. The sign consisted in the possibility of visit of "Kim Il-sung" to appreciate the work and presentation of directionality. By proposing the clear directionality of which hard-working people who deny social status system can be duly compensated, it encouraged the audience who saw the opera to voluntarily put this in practice. Thus, operas established the directionality through selective processes for creating public communion even before revolutionary operas.