• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• Journal of Yeungnam Medical Science
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• v.16 no.2
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• pp.169-180
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• 1999

Background: Uterine cervical cancer is the most common malignant tumor of the women in Korea. This study was undertaken to evaluate the usefulness of the cervicography as a screening test of cervical cancer. Materials and Methods: Cervicography was taken from 482 women at department of obstetrics and gynecology, at Yeungnam University Hospital from March 1, 1998 to October 31, 1999. Of the 482 women, 172 women were exc1uded from the study for various reasons, and 310 women completed the study. Three-hundred and ten women had cervical cytology (Papanicolaou smear), cervicography and colposcopy, and punch biopsy was undertaken if any of the test result was abnormal. Results: The most common age group was 35-39, and 40-44, 45-49 in order and most common reason for having a screening test was regular check for cervical cancer. The mean duration from the last Pap smear was 17.1 months, and 64 women(20.4%) never had any prior screening tests. Of the 310 women, 254 women were categorized as normal or having benign disease such as cervicitis, erosion or metaplasia. Biopsy was taken from 56 patients and the results were 26 chronic cervicitis, 4 mild dysplasia, 6 moderate dysplasia, 2 severe dysplasia, 14 carcinoma in situ and 4 invasive carcinoma. The results of cytology and cervicography were well correlated(p<0.05). The sensitivity and specificity of cytology were 86.7% and 76.9%, respectively and the sensitivity and specificity of cervicography were 56.7% and 96.2%, respectively. False negative rate of cervicography(43.3%) was much higher than those of cytology(13. 3%) (p<0.05), but false positive rate of cervicography(3.8%) was much lower than that of cytology(23.1%) (p<0.05). Conclusion: It seems inappropriate to use cervicography as a single screening test for cervival cancer, but it may be an effective complementary test for cytology to lower the false negative rate of cytology.

• Korean journal of applied entomology
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• v.22 no.4 s.57
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• pp.300-306
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• 1983

Effect on blast lesion development was investigated in rice cultivar Milyang 23 and Jinheung using two races of Pyricularia oryzae compatible or incompatible to each of two rice cultivars. Discase lesions were measured in rice when inoculated with inoculum mixed with compatible and incompatible races, inoculated with a compatible race following with an incompatible race and vice versa. Lesions were smaller when rice was incoulated with an incompatible race and then inoculated with a compatible race than those inoculated in the reverse way both at the inoculated site and at 3cm-upper part from inoculated spot. The results suggested that induced resistance might play a role in suppression of lesion development although such an effect appeared to be influenced by heavy application of nitrogen fertilizer.

• FLOWER RESEARCH JOURNAL
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• v.16 no.2
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• pp.112-117
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• 2008

Plug seedlings of vinca (Catharanthus roseus L. 'Pacifica Punch') and salvia (Salvia splendens F. Sellow ex Roem & Schult 'Maestro') were transplanted into square plastic pots (145 mL volume) filled with a soilless growing medium. To determine the effect of application rate on the growing medium EC and growth of plants, 0, 0.5, 1.0, 1.5, 2.0 and 4.0 g per pot of a controlled release fertilizer (14-14-14 Osmocote, 14N-6.2P-11.6K) were mixed with the growing medium. Plants were subirrigated daily with tap water. In both vinca and salvia, growing medium EC increased as application rate was elevated. Growing medium EC was relatively constant over a whole crop period when the application rate was less than 1.5 g per pot, while it decreased throughout the experiment at higher application rates such as 2.0 to 4.0g per pot in both species. The greatest leaf area, plant height, and shoot dry weight of vinca were obtained when plants were fertilized with 2.0 to 4.0 g per pot of the fertilizer, resulting in a growing medium EC of $1.0{\sim}1.7dS{\cdot}m^{-1}$ throughout the experiment. Leaf area, shoot dry weight, and chlorophyll content of salvia increased with elevated application rates. Leaf area, shoot dry weight, and chlorophyll content of salvia were the greatest when plants were fertilized with 4.0 g per pot, resulting in growing medium EC of $1.0{\sim}4.0dS{\cdot}m^{-1}$ throughout the experiment. Plant height of salvia was the greatest when plants were fertilized with 2.0 to 4.0g per pot. Concentrations of nitrogen (N), phosphorus (P), potassium (K), magnesium (Mg), and sulfur (S) in the shoots of vinca increased, while concentration of calcium (Ca) decreased with elevated application rates. Concentrations of boron (B) and manganese (Mn) in the shoots of vinca increased as the application rate decreased.

• (The) Research of the performance art and culture
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• no.40
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• pp.223-268
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• 2020

In contemporary Theatre, the case of inducing direct communication between the audience and the performance is prominent. Especially with the development of digital technology, the audience wants a personalized experience. The emergence of 'immersive Theatre' in this trend has attracted great attention both at home and abroad. In particular, the most important role in the emergence of the concept of 'immersive Theatre' is the British punchdrunk Theatre. Their representative performance began to premiere in London in the UK in 2003 and has expanded to include New York and China in Shanghai and continues to be extremely popular until 2019. In general, a review of existing studies on the role of the audience in shows that the focus is on the participation of the audience. What experience will be given to the audience can not be emphasized in contemporary Theatre. In order to satisfy the diverse needs of the audience, contemporary Theatre are increasingly showing complexity that cannot be explained by any one theory. The same goes for . This is because each audience wants a personalized experience, and there are differences in experience depending on the environment in which the audience also grew up, knowledge, culture, and taste. This study selected Punch Drunk's as a performance that can represent contemporary Theatre, and conducted a study on the role of audience in contemporary Theatre. To this end, we have historically explored past discussions about the role of the audience and discussed the characteristics of the role of the audience in contemporary Theatre. Next, I analyzed in detail the experience of the researcher "He" who watched the performance with the researcher on the role of the audience in . In conclusion, the experience of the audience in is diverse and complex. In other words, the role of the traditional audience in the proscenium play, as well as the audience as a participant in the post-drama play, was also complex in the performance. And this complexity was not a coincidence, but a planning strategy for the Punchdrunk Theatre. Therefore, when discussing the role of the audience in contemporary Theatre, there should be a discussion that clearly sees the complex characteristics of contemporary Theatre through the approach from various perspectives, rather than merely one view of the audience as a participant. something to do.