• Journal of the Semiconductor & Display Technology
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• v.16 no.3
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• pp.59-64
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• 2017

As the demand on displays increases, new thin-film transistors such as metal oxide transistor are continuously being invented. When designing a circuit consisting of such new transistors, a new transistor model based on proper charge transport mechanisms is needed for each of them. In this paper, a modeling framework which enables to choose charge transport mechanisms that are limited to certain operation regions and assemble them into a transistor model instead of making an integrated transistor model dedicated to each transistor. The framework consists of a graphic user interface to choose charge transport models and a current calculation part, which is also implemented in AIM-SPICE for circuit simulation.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2012.05a
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• pp.187-188
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• 2012

• 한국정보디스플레이학회:학술대회논문집
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• 2003.07a
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• pp.1104-1107
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• 2003

Normally white TN-LCD is the preferred solution in active matrix display thanks to easy production, fast response and good white balance. However, it is has poor viewing angle properties and correction films are difficult to design. We present the mathematics of designing a compensating film and discuss various technological solutions for making

• Proceedings of the Korean Society of Tribologists and Lubrication Engineers Conference
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• 2004.11a
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• pp.283-288
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• 2004

The measurement of ultra low aspect ratio fluid film thickness is very crucial technique both for the verification of lubrication media characteristics and for the clearance design in many precision components such as MEMS, precision bearings and other slideways. Many technologies are applied to the measurement of ultra low aspect ratio fluid film thickness (i.e. elastohydrodynamic lubrication film thickness). In particular, in-situ optical interferometric method has many advantages in making the actual contact behaviors realized with the experimental apparatus. This measurement method also does the monitoring of the surface defects and fractures happening during the contact behavior, which are delicately influenced by the surface conditions such as load, velocity, lubricant media as well as surface roughness. Careful selection of incident lights greatly enhances the fringe resolutions up to $\~1.0$ nanometer scale with digital image processing technology. In this work, it is found that coaxial aligning trichromatic incident light filtering system developed by the author can provide much finer resolution of ultra low aspect ratio fluid film thickness than monochromatic or dichromatic incident lights, because it has much more spectrums of color components to be discriminated according the variations of film thickness. For the measured interferometric images of ultra low aspect ratio fluid film thickness it is shown how the film thickness is finely digitalized and measured in nanometer scale with digital image processing technology and space layer method. The developed measurement system can make it possible to visualize the contact deformations and possible fractures of contacting surface under the repeated loading condition.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.32 no.5
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• pp.582-586
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• 1999

The processing conditions for producing and edible alginate film from sea tangle were investigated by measuring water vapor permeability (WVP), tensile properties and colors of film. The alginates were extracted with $3\%$ sodium carbonate ($Na_2CO_3$) solution for 5 hrs, and the alginate films were prepared with extracted sodium alginates, D-gluconic acid lactone, $CaCO_3$ and various plasticizers, As the concentration of alginate in making the film was increased, the WVP and elongation of the film were decreased and the tensile strength was increased. The higher amount of plasticizer showed the higher WVP and elongation, and the order of various plasticizers in increasing the WVP and elongation of the film was glycerol, polyethylene glycol, and sorbitol. The addition of sorbitol in the film showed the highest value (89.57) in lightness of Hunter color system and the film added polyethylene glycol had the highest values (-1,12 and 11.4) in redness and yellowness.

• Korean Journal of Fisheries and Aquatic Sciences
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• v.32 no.5
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• pp.664-668
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• 1999

The extracting conditions of alginates from sea tangle were evaluated by measuring water vapor permeability (WVP) and tensile properties of alginate film to obtain basic data of making an edible and biodegradable film. The alginates were extracted with $1\%,\;3\%$ and $5\%$ sodium carbonate ($Na_2CO_3$) for 1, 3, 5 and 10 hours, and the alginate film was made with various plasticizers. The higher concentration of $Na_2CO_3$ solution showed the lower viscosity and polymerization degree of alginate and the film prepared with alginates having low viscosity showed the higher WVP. The extracting hours had little effect on the WVP and the elongation of alginate film, but the polymerization degree of alginates directly affected the tensile strength of the film. The addition of sorbitol and polyethylene glycol as a plasticizer lowered the WVPs and the elongation of alginate film.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.343-350
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• 2019

As an important visual element, color in animated films can not only depicts the reality, but also conveys emotion and meanings, which play an important role in shaping the space of animated films. As one of the most outstanding animated films, Coco uses bold and unique color language to shape the film space. It uses the national color to blend the Mexican culture into the story space making it full of Mexican regional and cultural connotation, uses color contrast to shape the physical space, highlighting the three-dimensional and deep sense of the physical space. And also uses color association to create the psychological space, leading audience into the spiritual world of the film. Based on the analysis of the Coco, we an see that when shape the film space of animation, the film maker should give full play to the characteristics and function of color, and apply different color language to shape different space according to the role of the film space, so as to expand and deepen the connotation and expressiveness of film space.

• Journal of Broadcast Engineering
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• v.12 no.5
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• pp.391-400
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• 2007

The ways of expression are infinite to make animated film. When we compare to live action film, that fact is the actual power that animation only has and is one of the big weapons to appeal to the audience. Nonetheless, techniques to be chosen are monolithic like drawing, 3D computer, and clay when animation maker makes feature animation to screen in movie theatre. It's probably because feature animation must have popularity of visual style and they need to standardize technique about side of making. But popularity in expression does not mean monolithic visual style and making technique. It should be understood about side of artistic value to fascinate public audience. Audience is always eager for new subject, new directing style and new visual style. Monotonous and boring animation cannot but turn away from the audience. So if production does not have artistic value, we cannot expect commercial value and success also even it plans and makes for the feature animation. To create new visual style fnr animation is not only limited to artwork itself but also creation, which is included story and tone of the film and acting style about character. Also making process must be calculated and experimented to actualize that visual style about side of making.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.11
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• pp.437-442
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• 2016

The marriage between music and film, both temporal art forms, demands that the inherent aspects of note in each medium are brought into correspondence within a dramatic context. In film-making, the most crucial and difficult problem a film composer faces is finding the music that seems absolutely right for the film and its characters, sequences and dramatic lines. When writing a film score, composers become musical dramatists; some have a special instinct that enables them to find the right kind of melodic line, orchestral texture, rhythmic device and musical style to bring out what they intuitively recognize as the essential aspect of the drama. In this study, several examples are cited - Alex North, Hugo Friedhofer, Bernard Herrmann and David Raksin - that underline this kinetic function of music in film. Effort is made to uncover as many possibilities as possible, so as to arrive at a better understanding of how the two media interrelate for the purpose of emphasizing the dramatic lines.

• Lingua Humanitatis
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• v.2 no.2
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• pp.143-161
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• 2002

This essay explores the theories of Italian poet and filmmaker Pier Paolo Pasolini on the language of cinema. In essays such as "The Cinema of Poetry" and "The Written Language of Reality" composed during the 1960s, Pasolini argues for the special status of film language as "pre-grammatical" and links it to visual signifying processes such as dreams and memories. He also views cinema as the inroads towards a general semiotics of reality since, for him, the basic unit of film language is not the shot but those objects of reality that constitute the mise-en-scene of the shot, hence cinema is posited as the written language of reality whose minimal units of articulation are the very objects of reality itself. Accused by semioticians such as Umberto Eco of semiotic ingenuousness in trying to reduce the facts of culture to nature, Pasolini responded by arguing that he was trying to do the opposite, that is to say, to culturalize nature by examining it as a language. Against the constructed naturalism of both commercial and neorealist films, Pasolini argued for the creation of a poetic cinema able to exploit its constitutional pre grammatical, oneiric and sacred relationship with the world. The essay concludes with an analysis of the film Medea in which Pasolini′s attempt to restore a sacred vision of reality merges with his concerns over the cultural genocide of traditional and emarginated peoples at the hands of neocapitalist homologation.