• International Journal of Computer Science & Network Security
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• v.21 no.4
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• pp.229-240
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• 2021

The article seeks to explore Ukrainian media art and its features in a global context. In particular, it performs an in-depth analysis of the stages of its development from video art of the 1990s, media installations of the 2000s, and to various digital and VR technologies today. Due to historical circumstances, the development of media art was quite rapid, as young artists sought to gain new experience in media art. Most often, their experience was broadened through international cooperation and studying abroad. The paper analyzes the presentation of Ukrainian media art outside the country during 1993-2020 and distinguishes the main thematic areas of the artists' work. It examines how artists present and reveal the peculiarities of the Ukrainian worldview, aesthetics, and culture through the problematization of certain aspects and themes in their work. Specifically, among the principal topics which are problematized in the work of media artists are a sensory experience, limited sensory capabilities, gender issues, the Chernobyl tragedy, the development of utopian models of the city, and global communication. The leading themes of Ukrainian artists also include revolution and war. Notably, political and social sentiments determine the unique energy and vitality of contemporary Ukrainian art, create a revolutionary creative environment, and unite media artists in group art projects. It is concluded that by showing, exhibiting, and presenting them outside the country, artists shape the image of Ukrainian art in a global context.

• Asian Journal for Public Opinion Research
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• v.10 no.1
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• pp.51-73
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• 2022

This study investigated 3.50 million Facebook reactions collected from 9,429 Bangladeshi news items about rape shared on social media from 2016 to 2021. The primary aim of this study was to understand users' different reaction patterns based on the five major Facebook reactions (i.e., love, haha, wow, sad, and angry). Based on the theories of emotion, we quantitatively answer one research question: How do social media users react to rape with the five major Facebook reactions? The results suggest that users are more likely to express disdain toward rape and sympathy toward the victims using Facebook reactions by using the angry button, along with the sad button. In rape news, both reactions are consistent and maintain a strong positive correlation, meaning they increase and decrease together. Although many users tend to mock and laugh at rape incidents and the victims, trend lines suggest that such expressions may not be consistent with time. Despite contextual relevance, we presume that in socially and morally unacceptable events like rape and war, the valences of reactions alter to some extent: angry and sad usually become positive, while love, wow, and haha become negative. Some strengths and limitations of the study are discussed as well.

• Korean journal of communication and information
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• v.19
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• pp.213-238
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• 2002

Ie is popular belief among the authorities concerned and their apologists that media coverage of terrorism promotes terrorism and is used as publicity by terrorists. Generally speaking, however, in reporting terrorism, the media become not terrorists' but state's means of publicity, and condemn terrorism, while rationalizing state's violence against terrorism. Terrorists may be successful in attracting public attention at the initial stage of terrorism, but usually fail in publicizing their cause. This fact notwithstanding, the authorities concerned and their apologists maintain thar media coverage of terrorism should be controlled, because it works as publicity for terrorists. Now it can be said that there is an intention to control the media when it is asserted that media coverage of terrorism works as publicity for terrorists. To present these arguments, this article discusses the news values and publicity aspect of terrorism, reviews some problems of and misunderstanding about media coverage of terrorism, and for illustrations, look into the American media's coverage of the 9-11 terrorism against the U. S. and "war on terror". that is, state terrorism taken as a countermeasure to it by the U. S.

• The Southeast Asian review
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• v.20 no.2
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• pp.73-99
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• 2010

To properly answer the question 'Why have Vietnamese Women kept appearing in Korean Films and TV dramas?', We need to induce Postcolonial discourse along with historical and cultural similarities between Korea and Vietnam. It is because the relationship of two countries can be defined as a neocolonialism specially in view of economic relationship. Koreans need to locate themselves on the superior position by othering Vietnamese women, who are close enough to be compared and also distant enough to be othered. This paper is intended to bring their being in Korean films and TV dramas under the light of postcolonial discourse. According to the postcolonial concepts such as ambivalence, stereotyping and subaltern, Korean films and TV dramas are classified into three groups, which are Vietnam war melodramas, Horror movies based in Vietnam, and TV dramas with Vietnamese brides. War melodramas have been othering Vietnamese woman through ambivalence of the fear of Vietcom warrior and the fascination of exotic beauty. Horror movies, produced about 10 years later, brought the Vietnamese women back to Korean audience, stereotyping them into ghosts, which are incarnated through the suppression and eruption of sexual desire. The third group consists mainly of TV dramas. Their story usually evolves around Vietnamese brides migrating into Korea. The women are forced into the position of Subaltern, not representing themselves in their own voices. Facing multi-cultural society, our visual media are requested to modify their neocolonial approach of presenting Vietnamese women. To accomplish the goal, they have to find ways of storytelling to show the women in their everyday lives and help them to speak for themselves.

• The KIPS Transactions:PartD
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• v.11D no.2
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• pp.453-460
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• 2004

In this thesis, remote conveyor control and monitoring system is designed and Implemented for shoes production process based on Lego prototyping mechanism by using the I/O interface control board for the ISA Interface control board. A conveyor server for real time profess control is implemented based on RTLinux(Real-Time Linux) so that users deride priority of work. And device driver is implemented bated on the RTLinux. Through this system, real-time Client/server monitoring environments Is implemented and tested. And the JMF(Java Media Framework) based monitoring system was implemented and the total processing status war monitored.

• Journal of the Korea Society of Computer and Information
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• v.27 no.8
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• pp.91-101
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• 2022

This study started with the awareness that the review of the historical origins of Korean broadcasting will be of great significance in exploring the future of Korean broadcasting, and examined the various "origins" of Korean broadcasting - colonial, Cold War, totalitarian, neoliberal. Based on the theoretical background of "media archaeology", the historical 'origin' of Korean broadcasting was applied to track the origin of Hallyu(the Korean Wave) in the 21st century by comprehensively examining the political and economic motives of the time, the state's situational awareness of problems, major broadcasting policies and broadcasting realities. As a result of the study, it came to the tentative conclusion that the historical origin of the Hallyu, which began to be formed in the 1980s, originated from the three origins of Korean broadcasting and the "synthetic mixture" in the subsequent development process.

• Korean journal of communication and information
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• v.28
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• pp.111-140
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• 2005

Most of studies on the press during the period of Japanese occupation in Korea have focused on the activities of newspapers in 1920s. These past studies didn't examine the whole process of change of the press under the Japanese occupation in Korea. Thus, this study tried to investigate the change of the tenor of Korean newspaper editorials on the ruling policies during the end of the colonial period in Korea as a part of attempts exceeding the limit of past studies. After the outbreak of the war between China and Japan in 1937, the Korean newspapers were full of stereotyped editorials resembling in a way official gazette. Dong-A Ilbo and Cho-Sun Ilbo represented the purpose of the war was to emancipate Asian countries from Western imperialist countries and to establish the peace of the Asia. Simultaneously, two newspapers played an important role in assimilating the Korean people into the Japanese and mobilizing them to the war, The tenor of these editorials was affected by intensified control over the press and the change of the consciousness of journalists. In conclusion, these newspapers had a harmful influence on the Korean people as a weapon to the movement to organize and mobilize them. Therefore the interest for researching on the pro-Japanese press should be taken in view of 'resistance' and 'collaboration.'

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.8
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• pp.1309-1321
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• 2008

Military style is not limited to a single period but represents various image communications related to items, synthetic images and different periodical culture backgrounds. The purpose of this study is to define the communicational function of the military style beginning from the 1st world war up to the modern days, and furthermore explain the characteristics and contents of military styles in different periods by studying the nowadays various symbols of the military style in denotative and connotative aspects. The research method is documentary studies through the literature and academic paper, and examined masters' and doctors' thesis, domestic and overseas books and fashion magazines, photographs and materials collected from the internet. As a result, first, the military style is a significant fashion code in understanding modern fashion by serving as a strong communication function representing people’s ritual through various image items called the 'military look'. Second, the meaning of the image communication through military look changed throughout the different periods. During the 1st and 2nd World war the military look supported Fascism by serving as a media representing extreme patriotism and at the same time social images like functionalism, women liberation, regulation and saving. During the cold war period it was used by young progressives like hippies and punks to send an opposing message towards war and commercialism. Since then up to the 80s it was a medium representing the ‘new role of women’, who possess same social rights and power as the men. However in the 90s the military style had to go through a paradigm transition period. Since this period it got affected by the post modernism and designers, consumers alike adopted military style to create unique beauty It can also be said that it began to be used as a pure fashion code representing intertextuality. It was rather expressed as a metonymy than a metaphor and combined with elegance and feminine factor, which contrasts to the original military concept, it now represents totally new hybrids such as difference, dissemination and varieties.

• Journal of Fashion Business
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• v.27 no.6
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• pp.47-65
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• 2023

The purpose of this study is to derive the future-oriented characteristics Sonia Delaunay presented at the time based on the identity and modernity shown in her works and diverse activity. The scope of study spans from 1907 to the start of World War II and includes both applied and fine arts, with a focus on textiles and fashion. The research method is a literary study that includes old documents, exhibition booklets, and explanations from museum curators. The visual materials are actual works observed at exhibitions and digital images of various exhibitions. As a result of the research, she was a practitioner who expressed her identity in marriage, artwork, textiles, and fashion. In order to embody her design and express modernity, she showed geometric and modern motifs and she incorporated a sense of bright color and modernized light into her work by following the principle of simultaneous contrast in color. Additionally, she applied Hungarian embroidery techniques to simple materials and created geometric abstraction with her simultaneous colors, which contributed to both originality and the mass production of textile design. The future-oriented characteristics she presented are the dynamism of modern rhythm, the expansion of convergence and collaboration, the innovation of new production and exhibition, the media of consumer society, and the femininity of modern life. She recognized the mass consumer society and mass production of the early 20th century and actively utilized various media and genres to evoke a dynamic sense necessary for modern life and presented a design to be seen as a modern woman.

• Korean journal of communication and information
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• v.16
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• pp.168-206
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• 2001

This study attempts to examine the relationships between the major market-based media and the government after closing military regime era, 1961-1987. After the military regime was collapsed, while the mass media in Korea obtained independence and autonomy from government, they have been confronted with the terrible competition not so much comparatively as before. The watchdog role in the traditional liberalism, which is regarded as normative relationship between the media and the government would be transformed in accordance with the market condition and the maturity of democracy. Thus, the watchdog metaphor has been variously deviated in rower-centered society; lap dog, guard dog, attack dog. liberalists argue that the primary democratic role of the media is to art as a public watchdog overseeing the state. Social democrats, however, criticize them as simplistic conception which could be only applied to the government. They argue that the media should be seen as a source of redress against the abuse of all forms of power over others; the home, the economy, and the civil society. The lap dog view is that the media is overwhelmingly dependent on the established power structure contrary to the watchdog. While the guard dog perspective is a means to preserve the power structure alarming with playing 'conflict role', the attack do8 aims to the private interest of the media in intruding into the politics. The attack dog perspective by T. Patterson could be composed of the interpretive style of report, the game schema report over the policy schema in the election, and the negativism against politics and government. The market-dominant press has been likely to transform from lap-guard dog into attack-guard dog. In Roh Tae Woo government(1988-1992), while the press was a lessened lap-guard dog before three parties merger in 1990, after merger the press had been transformed as the reinforced lap-guard dog because this merger entailed joint, party-to-party negotiations, and the formation of the new party preceded by dissolution of the ruling blot. In the early stage of Kim Young Sam government(1993-1997), the press has kept in pace with the reform movement drive-forced by the government. However, the press withdrew the support of Kim's reform in reaching the level of threat to ruling bloc. The press coalesced only circumstantially with government and was interested in preserving some margin of independence. The failure of Kim's reform proved the political muscle of the press in post-autho-ritarianism. In the middle stage of Kim Dae Jung government (1998-) that resulted in the shift of power structure as once-opposition party leader, the stress has been a manifested attack-guard dog owing to the anti-cold war policy, the realignment policy of power, and the minority-base of Kim's government. The press has endeavored to hold political communication within limits relatively less threatening to the established order.