• Bulletin of the Korean Chemical Society
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• v.24 no.8
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• pp.1155-1162
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• 2003

Nanocrystalline semiconductor film electrodes have been prepared by sintering three different sizes of TiO₂ nanoparticle sols on conducting indium-tin-oxide (ITO) glass substrate. The electrochemical and photoelectrochemical properties of the prepared electrodes were comparatively investigated. The particle sizes, surface morphologies and crystallinities of the films were studied by scanning electron microscopy, transmission electron microscopy, and X-ray diffraction. Cyclic voltammetry and capacitance measurements in the dark implies the formation of depletion layer in the semiconductor films which was usually neglected in the previous studies and shows that flat band potential ($E_{fb}$

• Cartoon and Animation Studies
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• s.14
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• pp.101-114
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• 2008

This article studied that the characteristics of the movement image shows clearly through the controlled movement which the experimental short animation film shows. Animation makes the short edit like live action film. In addition animation shows the movement image positively by redefining the relationship between the frames. By using the concept of the movement image, this article says the movement in animation is not only the technique but also the essential factor which makes the audiences recognize animation and causes emotion in them and the important factor which reveals the meanings of each animation.

• Advances in environmental research
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• v.1 no.4
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• pp.289-304
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• 2012

Tris (2-methyl-1-aziridinyl) phosphine oxide (MAPO) is extremely poisonous and persistent in aqueous media. An efficient UV/nano$TiO_2$ process was employed for its mineralization in a high duty falling film photo-reactor based on an experimental design scheme that considers interactions between the main variables. The influencing variables and their range were determined with preliminary studies. The results show substrate mineralization to some extent under mild conditions of: T = $30^{\circ}C$, pH = 8.5, $[MAPO]_0=60\;mg\;L^{-1}$ and $[TiO_2]=110\;mg\;L^{-1}$. The relative importance of the influencing parameters were initial pH > temperature > $[MAPO]_0$ > [$TiO_2$]; while the interdependence of all the parameters was significant. Accordingly, a reduced quadratic expression was developed. Meanwhile, mineralization kinetic studies, based on chemical oxygen demand, revealed a power law model with order of 2.6 during process time until 150 min.

• Cross-Cultural Studies
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• v.29
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• pp.7-24
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• 2012

"Duck Hunting" is the most psychological play with unique structure written by Aleksandr Vampilov. The play describes protagonist hero's furious behavior with psychological instability, therefore, this play tends to be recognized as serious and complicated one. After the death of Vampilov, "Duck Hunting" was reproduced as a film, titled as "Vacation in September." This study is designed to shed light on the play's psychological-dramatic factors by focusing on the structure of narrative and spatial-temporal objet. Also, this study compared the screenshots of the play with their textual meanings, then concentrated on main character's psychological features. By focusing on protagonist hero's mind, this study tries to look into the features of the play and its meanings for modern period. The film's plot is a kind of story telling structure based on main character's memory. The short stories of main character represents that Jilov(main character's name)'s losing his own life. The audience can acknowledge that Jilov's life as a duck hunter who is cynical, ideological, lazy, and self-interest oriented person. This play provokes the audience to compare their life to Jilov's one because such comparison helps the audience recognize their lives as surplus style of life with nihilism. Jilov as a character represents one of Soviet's generation with the feeling of great loss in 1960s.

• KOREAN JOURNAL OF PACKAGING SCIENCE & TECHNOLOGY
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• v.27 no.1
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• pp.9-16
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• 2021

The present study was conducted to accomplish management efficiency by preparing preemptive measures for consumer dissatisfaction and overcome risks caused by Global Warming through studies of model cases in packaging. Through this study, we made it possible to find a way for companies to prepare for Global warming and consumer dissatisfaction. By contributing to eco-friendly packaging, we are trying to preemptively respond to recent major issues through packaging. Through this experiment, we tried to measure the degree of penetration of Plodia interpunctella H. larva into the insect repellent film produced by printing Ink containing a natural repellent. The control experiment was conducted with an untreated LDPE film to which no insect repellent was applied. The numbers decreased from 17 to 7 when the film was processed with repellent to show experimental results verifying effects of repellent by decrease in 10 (58.8% Decrease). Such results show that it is safe when the film is unfolded but in the case where the film is folded, the Plodia interpunctella H. punches through the film to lead to consumer dissatisfaction and it suggests that this can bring on risks to corporate management. Considering that most of the film is folded in the case of PE bag packaging, the direction which the corporations should take in terms of preparing for climate change countermeasures and consumer dissatisfaction has been clarified. Due to it receiving satisfactory results in safety rest results for printing film applied with pest repellent as well as the Quality analysis to test repellent contents of repellent film, it is certain that the importance of repellent method in packaging will increase in preparing for consumer dissatisfaction and actions against climate change henceforth.

• Cartoon and Animation Studies
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• s.33
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• pp.317-341
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• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.

• Trans-
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• v.5
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• pp.1-27
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• 2018

What is 'analyzing a movie'? And, what is 'its role in film studies'? The question required a systematic and scholarly answer, and filmologie was making a clear place for itself. Through psychology, aesthetics, text theories and of course semiotics, the conceptualization of 'film' has been formed. Deleuze, who has been continually writing about 'movies' in his philosophical essays, ended the debate in defining the relationship between 'image and essence' when he released 《Movie 1, Movement-Image》 in 1983. 'Film' rapidly became the topic of the century and became a 'device' that leads the way of thinking. The reason why Jean-Louis Boissier labeled this 'film' as 'device (le dispositif)' was not part of film studies. What should be noted is that the mention of 'film' became a key part of the debate of 'reproduction', which was the most popular subject of philosophy and humanities. In the digital era, the film is once again questioned about its definition. In retrospect, themes of core debates of 'History of cinema' have always been driven by simple and superficial technological changes. With the emergence of CG (Computer Graphics), the question of 'cinema' in the 21st century is not only a philosophical discussion on the problem of 'reproduction', but also a crucial change that shifted the focus of the debate on the nature of the film from 'production' to 'distribution'.

• 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.

• Tribology and Lubricants
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• v.2 no.2
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• pp.32-43
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• 1986

The mobility method is used for optimizing dynamically-loaded journal bearings. Connecting -rod bearings in both diesel and gasoline engines are optimized by parametric studies of bearing span and clearance. The inertia effect of the connecting-rod is also included in this study. Minimum film thickness, maximum film pressure, and friction loss are calculated to satisfy the design conditions in both engines.

• Proceedings of the Korean Vacuum Society Conference
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• 2007.02a
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• pp.134-134
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• 2007