• Child Studies in Asia-Pacific Contexts
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• v.5 no.1
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• pp.51-62
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• 2015

This study examined the role of ethnicity and extended family relationship in the longitudinal patterns of unmarried resident fathers' engagement with young children in the U.S. Using three waves of panel data from the Fragile Families and Child Wellbeing Study (FFCWS), data obtained from 292 respondents were analyzed by the Linear Mixed Effects Regression (LMER) method. Findings suggested that Black unmarried resident fathers exhibited more engagement with their infants at age one than their White counterparts did, but the initial difference reversed by age five as a result of decreasing engagement among Black fathers over time and comparatively increasing engagement among Whites. Results also suggested that Black unmarried resident fathers with a high relationship level with their extended family members exhibited less engagement with their infants than Black fathers with a low relationship level, but the initial difference reversed by age five as a result of decreasing engagement among Black fathers with a low relationship level over time and comparatively increasing engagement among Black fathers with a high relationship level.

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.