• Korea lubricating oil industries association bulletin
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• no.12
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• pp.12-19
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• 1985

• The monthly packaging world
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• s.130
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• pp.74-79
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• 2004

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.303-311
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• 2019

is a film festival in conjunction with that shows about 50 works from 25 countries. It has become the only martial arts action film festival going on in Korea, with 32 feature films and 24 short films for a total of six days during the event from August 30 to September 6. has the slogan 'Muye, change the history of movies!' Through the movie, it sheds light on the value of life pursued by the martial arts spirit around Samjae, the core value of martial arts, and explores the aesthetic value of the most beautiful gesture that humans can make through the movement of martial arts centered on the space of dots, good and cotton. And through this film festival, I saw the potential to grow into a festival with the world. With this film festival, the identity of is established as a sustainable film festival, not as a single film festival, and image of martial arts action movies, which are part of genre movies, through the certainty of this image, differentiates itself from domestic and international film festivals, and does not stay in Northeast Asia or in Southeast Asia. Then, let's study the value of the future through the results of this film festival. In addition, we will study ways to increase the probability of growth as the best cultural and arts festival held along with the world's only international martial arts competition.

• Journal of Platform Technology
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• v.11 no.3
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• pp.45-55
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• 2023

This paper presents a model that supports decision-makers in the Korean film industry to maximize the success of online movies. To achieve this, we collected historical box office movies and clustered them into types to propose a model predicting each type's online box office performance. We considered various features to identify factors contributing to movie success and reduced feature dimensionality for computational efficiency. We systematically classified the movies into types and predicted each type's online box office performance while analyzing the contributing factors. We used automated machine learning (AutoML) techniques to automatically propose and select machine learning algorithms optimized for the problem, allowing for easy experimentation and selection of multiple algorithms. This approach is expected to provide a foundation for informed decision-making and contribute to better performance in the film industry.

• Applied Chemistry for Engineering
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• v.2 no.3
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• pp.193-198
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• 1991

Thick film copper conductors are of considerable interest in thick film industries because of both the potential cost saving compared to the noble metal conductors and the favorable properties in electrical conductivity, solderability, solder leach resistance and wire bondability, However, formation of the excellent copper thick film is a lot complicated due to easily oxidizing property of copper at high temperature. In order to get favorable thick film copper conductor, hybrid microcircuit industry utilizes majorly three kinds of firing atmosphere, such as nitrogen atmosphere, reactive atmosphere and air atmosphere. The processes and the three atmospheres for firing thick film copper conductor were extensively reviewed in this article.

• Journal of the Economic Geographical Society of Korea
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• v.20 no.4
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• pp.453-485
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• 2017

One of the oldest chestnuts in economic geography is this: Cultural and creative industries strongly gather in large cities and this geographic concentration of economic activities leads to regional development. Of course, depending on the circumstances, such a proposition still holds good. But, under the current paradigm shift to knowledge-based economy, it may be open to question. This study aims to investigate financing and knowledge accumulation in the film industry through an alternative framework for explaining their spatial distributions, "formation mechanism of economic space." From the fact that their production organizations are formed on a project basis, project-based financing structure in the investment stage and knowledge accumulation process in the production stage form both axes of it. Film industry as the most mature industry among the cultural and creative industries does not always concentrate in a certain place (industrial agglomeration) or show metropolis-oriented preference. This allows us to reconsider our long brooding theory.

• Korean journal of communication and information
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• v.35
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• pp.147-178
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• 2006

Screen Quota is very important topic at our whole society not only film industry. Moreover the opinions are sharply divided. So, journalism, at the objective and neutral position, has the responsibility to present objective field to discuss and neutral information. This script censoriously focuses that how Korean Journalism handles Screen Quota issue from the upper mentioned premises. The first point is Korean Journalism gives legitimacy to the Governmental persistence, which is fixing Screen Quota as a hurdle for the FTA settlement so that it should be reduced. Secondly, Korean Journalism has been reducing the importance of the Screen Quota issue as the problem of film industry itself own, describing it as combat between Government and Film Industry. Third, it describes the Screen Quota as a privilege granted to the Film industry only. Finally, it provides power to the point of view of the Government which insists to reduce the Screen Quota mentioning the superiority of the competitiveness of the Koran Films discriminatingly. In conclusion, I could not but define that Korean Journalism is only speaking for America and Korean Government especially about the Screen Quota issue which is divided sharply. What it means is Korean Journalism has not been providing not only objective information but also impartial dispute field to the public for the issue which has very importance socially. The news and discussions about Screen Quota shows that this issue is not free from the progress of FTA which includes the Screen Quota problem. Further on, it could be deduced that the discussion about Korean film industry has kept on focusing its topic to the choice of decreasing or maintaining Screen Quota. The cultural contents have been expanding its importance day by day. Endeavors to settle the enormous problems of film industry should be preceded to strengthen the competitiveness and to prepare against market opening. Consequently, to solve the problems of film industry, Screen Quota should be positioned as a protect policy rather than a remedy for every ill, at the same time all the possibilities should be considered especially for the problems that Screen Quota could not solve.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.183-192
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• 2019

This study studied five major films from the 1980s to the 2000s when Philip Glass's minimal music was used, and studied the aesthetic and functional meaning of the minimal music. Minimal music has a repetitive rhythm and is understood to be aesthetically monotonous, to avoid a particular purpose, or as an expression of moveless. On the one hand, it can mean infinite persistence by repetitive rhythms, or sometimes repetition with subtle changes. The functions of film music were applied as the function of film music common to many theorists. As a result of the analysis of the music in five films, the aesthetic meaning of Philip Glass's minimal music was most relevant to the characteristics of the film story, and the functional meaning of the film music was determined by the structure, form, and genre of the film. Therefore, the theme of the film and the contents of the story played an important role in the aesthetic interpretation of film music with repetitive rhythm characteristics. And the elements of the plot such as the structure, form, and genre of the film are thought to have had a significant effect on the functional interpretation of the film music. The aesthetic value of the film music is closely related to the story of the film, and the functional meaning of the film music is interpreted as determined by the formal elements of the film.

• Journal of the Korean Society of Industry Convergence
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• v.2 no.1
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• pp.105-112
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• 1999

Model predicting the respiration rate of pear under modified LDPE film pouch has been developed. The assumptions of the model have three bases; 1) respiration rate is depending on $CO_2$ and $O_2$ concentration in the package, 2) the oxidation of glucose in pear generates carbon dioxides, and 3) gases permeation through the package film bases on the Langmuir adsorption theory and Fick's law. The simulated results agreed fairly well with the experimental data so as this model to be useful in designing the modified atmospheric packaging system.