• Journal of Korea Multimedia Society
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• v.21 no.10
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• pp.1211-1220
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• 2018

Maya Deren is well known as the 'mother' of the American avant-garde films by her first short, Meshes of the Afternoon (1943). One of the major contributions of Maya Deren's theoretical body of work to the visibility was the invention of a new vocabulary for independent film-making such as 'film-poems', and 'choreo-cinema'. To create experimental film forms, she chose poetry, dance, architecture and music as a metaphor to describe her images. On the top of these arts, Maya uses camera works and editing system to achieve an 'artificial reality' whose character is miraculous in that living whole, in order to help the audience to experience a protagonist's psychological journey.

• Korean Management Science Review
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• v.32 no.1
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• pp.133-145
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• 2015

Motion picture industry in Korea has been growing constantly and aroused various kinds of research attention. Particularly, the introduction of official box-office database service brought quantitative studies. However, approaches based on diffusion models have been rarely found with domestic film markets. In addition to the fundamental statistical review on Korea and US film markets, we applied a diffusion model to daily box-office revenue. Unlike conventional preference of Gamma distribution on the film markets, estimation results proved that BMIC can also explain the trend of daily revenue successfully. The comparison with BMIC showed that there is a distinctive difference in diffusion patterns of Korea and US film markets. Generally, word-of-mouth effect appeared more significant in Korea.

• Journal of the Korean Institute of Electrical and Electronic Material Engineers
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• v.19 no.1
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• pp.52-57
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• 2006

Precision thin film resistors using evanohm R alloy were fabricated by do magnetron sputtering method. The physical and electrical properties of the resistors were studied after treatment of thermal annealing. The crystallization of the film was increased as the annealing temperature increase. Diffusion and oxidation of Cr and Al elements were occurred into the film surface. The minimum TCR values of 10.46 ppm/$^{\circ}C$ and 10.65 ppm/$^{\circ}C$ were measured at the annealing temperatures of $200^{\circ}C$ and $300^{\circ}C$, respectively. We are conducting additional studies to improve characteristics of our resistors for practical device application.

• Proceedings of the Korean Vacuum Society Conference
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• 2014.02a
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• pp.365.1-365.1
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• 2014

Cobalt oxide has excellent various properties such as high catalytic activity, antiferromagnetism, and electrochromism. So cobalt oxides offer a great potential for their applications in the various areas such as optical gas sensor, catalysts for oxidation reaction, electrochromic devices, high temperature solar selective absorbers, magnetic materials, pigment for glasses and ceramics, and negative electrodes for lithium-ion batteries. We have synthesized novel cobalt complexes by simple reaction of cobalt bistrimethylsilylamide as a starting material with a lot of conventional ligands as potential cobalt oxide precursors. The studies include the facile preparation, structural characterization, and spectroscopic analysis of the new precursors. We are making efforts to grow cobalt oxide thin films using cobalt complexes newly synthesized in this study using deposition techniques.

• Journal of ILASS-Korea
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• v.11 no.3
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• pp.147-154
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• 2006

A specially designed injector using electric conductivity was used to measure the liquid film thickness accurately. The measurement conducted through the precise calibration, accuracy is demonstrated in comparison with the previous theory and the results using other measurement method. The tendency of liquid film thickness for geometric parameters was examined by the precise measurement. The variation of air core and stability are examined through the visualization of the formation of air core in swirl chamber and the variation of liquid film thickness by the time.

• Journal of the Korean Graphic Arts Communication Society
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• v.26 no.2
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• pp.15-30
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• 2008

Studies were carried out the phenomenal observation on the effect of corona treated hotmelt laminating film in process of manufacture by 2 kinds of experiments. These are as follow: 1) In order to verify the treatment reducing value of dynes and dynes durability with the lapse of time, it was checked dynes of a pair of 4 bar discharge electrode with 9 one for 144 hr., and it show results that 9 bar discharge electrode has higher initial dynes as well as keep up 48 dynes durability long than 4 one. 2) Drawn an inference from 3 actions -Chemical-Physical-Mechanical, on laminating film in terms of SEM's observation that are the adhesive status in boundary of corona treated base film, extrusion coating hotmelt layer, and configuration of hotmelt surface after corona treated. In tandem system, EVA layers adhesion keep its stability without corona discharge treatment.

• Bulletin of the Korean Chemical Society
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• v.20 no.8
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• pp.869-874
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• 1999

In this paper, electrochemical techniques are used to investigate hydrothermal-electrochemically formation of barium titanate (BT) ceramic films. For comparison, the electrochemical behaviors of anodic titanium oxide films formed in alkaline solution were also investigated both at room temperature and in hydrothermal condition at 150.0 ℃. Film structure and morphology were identified by scanning electron microscopy (SEM) and atomic force microscopy (AFM). Titanium oxide films produced at different potentials exhibit different film morphology. The breakdown of titanium oxide films anodic growth on Ti electrode plays an important roles in the formation of BT films. BT films can grow on anodic oxide/metal substrate interface by short-circuit path, and the dissolution-precipitation processes on the ceramic film/solution interface control the film structure and morphology. Based upon the current experimental results and our previous work, extensively schematic proce-dures are proposed to model the mechanism of ceramic film formation by hydrothermal-electrochemical method.

• Cross-Cultural Studies
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• v.23
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• pp.101-126
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• 2011

The principal purpose of this study is to analyse and critique how precisely the representation of women in the film Retrato de Teresa reconstructs the socio-cultural image of the female in the late seventies of Cuban society. The film of Pastor Vega is obviously an outstanding challenge on the new subject of 'women's liberation' against machismo in the context of the Cuban society. Teresa, the female character, as a socio-cultural image of the Cuban society don't focuses on the declarative and iconic images of the women's role as a revolutionary heroin that had appeared frequently in the films of the sixties, but she struggles for getting more realistic and pragmatic values such as women's emancipation to take rights in daily life. Therefore, the declaration of the emancipation of Teresa against machismo of her husband $Ram{\acute{o}}n$ has the special and symbolic meanings of social role and function of the film in the process of Cuban cultural revolution. The film concentrates on inducing the audience to make new perspectives such as women and gender issues in the daily experience of Cuban society where the machista ideologies and practices characteristic of a patriarchal society. Conclusively the female image of this film does not represent a national heroin, but reflects the women's desire, hope, and dreams in the society. Teresa makes the audience think of representations of the true meanings of the revolution in daily life, the machista ideologies in the patriarchal society, and the women's role and fuction in the Cuban society.

• Cross-Cultural Studies
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• v.40
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• pp.185-212
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• 2015

Bruno Dumont's film P'tit Quinquin (2014) trends toward 'the new extremism' in contemporary European cinema. This criminal-mystery-comedy film achieves the cinematic recognition of reality in the new extremist way: like typical new extremist films, P'tit Quinquin contains a lot of 'unwatchable' content, including disembodied parts of human body, carcasses, and the body of a boy who has killed himself. The reality, however, remains confidently invisible, despite everything that is visible within the film. In understanding Dumont's attempt to reach cinematic recognition, the relationship between 'the visible' and 'the invisible' is reconsidered. In the context of the film, the relationship between cinema and reality becomes indirect. The reality can be only felt, not seen. The invisible reality can be perceived only as a void, just like the criminal who is unknown even though he is sought after. To reveal this void, the film strives to give its viewers as much explicitly visible content as possible during its 200-minute run. This essay is an interdisciplinary attempt to examine the working and the effects of this cinematic attempt by Bruno Dumont; aspects of film theory, visual anthropology, (inter-)mediology, posthumanism in cultural theory, etc., are related for this purpose.

• Cartoon and Animation Studies
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• s.27
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• pp.199-219
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• 2012

An innovative narrative film-making always came out of conflict and negotiation between reality and film form. A lesson we learn from their film-making is a certain reality is no more possible to be dealt with by conventional narrative. A dialectic between a real life and a representation drives a certain film-makers to make films. Kore-eda Hirokazu is internationally known as developing his own method of meshing of so-called real life and the artifice of film. As He began his career as a documentary film-maker, made several documentaries for TV and then turned to his feature film-making, documentary film-making defines the basic stance in all of his film-making. He in particular emphasized that he considered the fundamental ethical standpoint of documentary to be filming from the standpoint that one does not - or cannot - know the person one is filming. And therefore even in his fiction films he avoids subjective cinematic structures that offer easy access to the internal states of his characters. He makes his audience observe the internal states of his characters from the outside with his narrative strategy. This article will analyse two documentary films of Koreeda Hirokazu in such a way that his documentaries meshes a real life and the artifice of film and then explores such a fiction film like that changes its documentary methods into narrative strategy for the same effect on the audience.