• The Journal of the Korea Contents Association
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• v.19 no.11
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• pp.516-526
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• 2019

As with all narrative forms based on media, the narrative method of TV human documentary is closely related to the change of broadcasting environment. In 2017, the world's first terrestrial UHD broadcast was launched in Korea, and in September of that year, KBS broadcasted the UHD special documentary series. , made of UHD capable of ultra-high definition video and immersive audio, showed a narrative approach completely different from the existing TV human documentary. Instead of all-out narration, which was considered an essential element in the TV human documentary, it used the modest first-person narration of the characters, while actively using drones capable of various compositions to express the psychology of the characters in detail and enable viewers' immersion. In addition, the Montage editing technique, an editing method that has not been attempted in TV human documentaries, utilizes the narrative development method of 'showing' as a video without 'explaining' with narration. After , many similar narrative documentaries are broadcast, and the flow and direction of TV human documentaries are changing under UHD broadcasting environment.

• Annals of Clinical Neurophysiology
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• v.1 no.2
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• pp.160-167
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• 1999

Although somatosensory evoked potentials(SSEPs) have been utilized as the useful diagnostic tools in evaluating the wide variety of pathological conditions, such as focal lesions affecting the somatosensory pathways, demyelinating diseases, and detecting the clinically occult abnormality, their neural generators is still considerably uncertain. To appreciate the basis for uncertainties about the origins of SSEPs, consider criteria that must be met to establish a causal relationship between activity in a neural structure and a spine/ scalp-recorded potential. Electrode locations and channel derivations for SSEPs recordings are based on two principles:(1) the waveforms are best recorded from electrode sites on the body surface closest to the presumed generator sources along the somatosensory pathways, and(2) studies of the potential-field distribution of each waveform of interest dictate the best techniques to be used. In this article, authors will describe followings focused on ;(1) the concepts of near field potentials(NFPs) and far field potentials(FFPs) - the voltage of NFPs is highly dependent upon recording electrode position, FFPs are unlike NFPs in that they are widely distributed, their latencies and amplitudes are independent of recording electrode.(2) appropriate montage settings to detect the significant potentials in the median nerve and posterior tibial nerve SSEPs(3) neural generators of various potentials(P9, N13, P14, N18, N20, P37) and their clinical significance in interpretating the results of SSEPs. Especially, Characteristics of N18(longduration, small superimposed inflection) suggested that N18 is a complex wave with multiple generators including brainstem structures and thalamic nuclei. And N18 might be used as the parameter of braindeath. Precise understanding on these facts provide an adequate basis utilizing SSEPs for numerous clinical purposes.

• The Journal of the Korea Contents Association
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• v.6 no.11
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• pp.110-117
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• 2006

With the New media of present age we are living at, strongly entice consumers through various sensible technology and give influences on our life. They are visually formed but make us feel them as if formed tactile. The masses of today are meeting media through all the senses in daily life according to the spread of on-line media and in such course they want momentary and tactile share. Since appearance of mass society and cinema following such current, art has appealed to dispersive and tactile perception, and such public way of perception makes it possible to experience 'visual tactility' in daily life in accordance with the development of on-line game culture among others. The shock effects, given by editing of game animations which are produced for epic experience of on-line game, arouse tactility in addition to visibility. Under this assumption and on the basis of visual tactility theory as well as montage theory of image by Walter Benjamin, the research intends to explain that public tactile shock does not result from simple graphic effect but from montage effect and dispersive acceptance.

• Korean Journal of Clinical Laboratory Science
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• v.53 no.4
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• pp.296-308
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• 2021

Electroencephalography (EEG) provides the most accurate and quickest diagnosis of epilepsy. It is also an important examination for the real-time evaluation of brain function and seizures, no matter where. In the field of epilepsy, it is appropriate for a clinical pathologist with considerable knowledge of EEG and clinical experience to perform the role of a Physician Assistant (PA). The electrode attachment method is based on the international 10-20 system. The EEG reading is mainly taken by longitudinal bipolar montage. However, a reading using only one montage may result in an error. Hence, two or more montages should be used for readings according to the clinical situation. In the EEG, electric potentials are seen as contour lines. The most important principle in EEG reading is under-reading, not over-reading. The higher the repetitions of the EEG recording, the greater the sensitivity of the reading. For a good reading, the EEG recording must be of good quality. So, the relationship between the neurologist and the EEG technician is very important. In the future, it is expected that the field of activities of the EEG technician with abundant EEG reading experience and clinical practical knowledge will be further expanded.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.209-221
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• 2019

A found-footage film La France est notre patrie is a documentary, in which archive images are juxtaposed with intertitles, non-diegetic music and foley, by borrowing an audiovisual strategy of silent films. The filmmaker Rithy Panh has excavated the images, which had been taken during the same period as the film history of the end of the 19^th and early 20^th centuries in Southeast Asia and Africa under French colonial rule. This paper examines the filmmaker's methods of historiography when utilizing archive images in order to represent the past by referring to Walter Benjamin's concept of historical montage and dialectical image. As the analysis illustrates the singularity of constructive methods, which include multi-layer viewpoints and montage styles of compilation and collage, it reveals how La France est notre patrie elicits the essay film modes through its self-reflexivity, leads audience to the threshold of critical thinking about time and history and creates a discourse of counter-memory.

• Cross-Cultural Studies
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• v.49
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• pp.59-93
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• 2017

This paper provides an in-depth examination of the relationship between cinema and Giorgio Agamben's aesthetics and philosophy. Intersecting Agamben's key concepts including gesture, mediality, biopolitics, historicity, and profanation with historical and aesthetic dimensions of cinema, I argue for his ambivalent view on cinema and visual media. On the one hand, Agamben linked cinema and visual media to his discussion on biopolitics and spectacle as he considered them as apparatus for capturing and controlling gestures. On the other hand, he also argued that cinema could restore the image with capacity to preserve and recuperate gestures based on his consideration of montage as cinema's key aesthetic and technical component (an operation of profanation) and his Benjaminian thought on the ways in which montage suspended linear flow of images and activated an alternative memory of them. Drawing on history of cinema and optical devices in the 19th and early 20th centuries as well as examples of found footages of filmmaking predicated upon stoppage and repetition of images, I argue that Agamben's concept of potentialities can be extended into his thought on cinema and visual media apparatuses in general.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.2 s.121
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• pp.64-70
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• 2007

The main purposes of this paper are to determine the major factors influencing visual preference in soundproofing barriers in urban places and to provide the essential information needed in the design process of soundproofing harriers. This paper consists of two phases. The first phase presents photos of the seven types of soundproofing barriers generally seen around the Daejeon area, which were taken from three places for a photo montage. The evaluation of 21 different soundproofing barriers was conducted by college students. The second phase of this paper depicts the analysis process. Firstly, the visual preferences as found from the collected data were evaluated by five semantic degrees. The evaluated data were processed by descriptive test, a correlation test and ANOVA test methods using an SPSS statistical package. 1. Currently, visual preference in soundproofing barriers is low in urban places. Therefore, it is necessary to design visually pleasing soundproofing barriers to improve the visual qualify of urban areas. 2. Soundproofing barriers of mixed wood and acrylic scored the highest among selections while those with aluminium steel scored the lowest. 3. Environmental friendly and transparent conditions should be met to allow soundproofing barriers to be visually pleasing.

• Journal of KIISE:Software and Applications
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• v.31 no.6
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• pp.817-828
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• 2004

In this paper, we propose vector-based face generation system that uses montage and shading method and preserves designer(artist)'s style. Proposed system generates character's face similar to human face automatically using facial features that extracted from a photograph. In addition, unlike previous face generation system that uses contours, we propose the system is based on color and composes face from facial features and shade extracted from a photograph. Thus, it has advantages that can make more realistic face similar to human face. Since this system is vector-based, the generated character's face has no size limit and constraint. Therefore it is available to transform the shape freely and to apply various facial expressions to 2D face. Moreover, it has distinctiveness with another approaches in point that can keep artist's impression just as it is in result.

• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.