• Cartoon and Animation Studies
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• s.40
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• pp.109-137
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• 2015

As Digital technology developed, drawing animation, using traditional production method which expresses many feelings with drawn lines loses the youth group, the primary audience, to the realism of the digital cinema. Drawing animation, which drew attention of the youth by the spectacles in the film such as hectic pace, dynamics and punch, declined for a while. However, it has been developed a way to express pace and dynamics of its own by establishing an effective directing method, which combines digital technology as it is needed. This study has a purpose to investigate what causes the dynamics and feeling of fast movement of the character in Japanese limited animation. Though some action-animated films that heroes with supernatural powers take the leading role that feeling of velocity and dynamics are emphasized we compare the directing method before and after the introduction of the digital technology. This research reaches the conclusion by factoring each Bergson and McLuhan's discussion to the intervention of indexical signs and the audience's participation according to skipping technique. This study has a significance of researching the element of drawing animation that maximizes the expansion of the senses by defying the limitation of the law of physics through its unique way of directing together with growth of the hero films, which will continue.

• Journal of Digital Convergence
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• v.15 no.4
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• pp.537-547
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• 2017

This study attempted to determine differences between the perceived empowerment level and job satisfaction depending on hairdressers' demographic characteristics and analyze the effects of their empowerment on job satisfaction. For this, a total of 310 hairdressers in Gwangju-Jeonnam and Seoul-Gyeonggi-do were chosen through convenience sampling, and then a questionnaire survey was conducted. The valid 277 copies were used for final analysis. For data analysis, descriptive statistics, factor analysis, reliability analysis, t-test, ANOVA, Duncan's test, and multiple regression analysis were conducted using SPSS 15.0. The study results found the following: First, in terms of the subordinate factors of empowerment, the following four factors were found: meaningfulness, self-determination, competence, and impact. Second, depending on demographic characteristics (e.g., age, career, type of beauty salon, job title, punch-in time, monthly pay), a statistically significant difference was found between empowerment and job satisfaction (p<.01). Third, hairdressers' perceived empowerment level had a positive impact on job satisfaction (p<.01). In terms of the empowerment on job satisfaction by sub-factor, 'self-determination' was largest, followed by 'meaningfulness' and 'competence.' Therefore, beauty salon owners need to manage their business more efficiently by converging cosmetology and business management by expanding empowerment among hairdressers properly after recognizing the importance of hairdresser empowerment.

• Journal of Pharmaceutical Investigation
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• v.29 no.3
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• pp.227-234
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• 1999

Solid dispersions were prepared to increase the dissolution rate of biphenyl dimethyl dicarboxylate (DDB) using water-soluble carriers such as povidone, copolyvidone, $2-hydroxypropyl-{\beta}-cyclodextrin (HPCD)$, sodium salicylate or sodium benzoate by solvent evaporation method. Solid dispersions were characterized by infrared spectrometry, differential scanning calorimetry (DSC) and powder X-ray diffractometry, dissolution and permeation studies. DDB tablets (7.5 mg) were prepared by compressing the powder mixtures composed of solid dispersions, lactose, com starch, crospovidone and magnesium stearate using a single-punch press. DDB capsules (7.5 mg) were also prepared by filling the mixtures in empty hard gelatin capsules (size No.1). From the DSC and powder x-ray diffractometric studies, it was found that DDB was amorphous in the HPCD or copolyvidone solid dispersions. Dissolution rates after 10 min of DDB alone and solid dispersions (1 : 10) in sodium benzoate, sodium salicylate and copolyvidone were 11.8, 23.5, 22.8 and 82.5%, respectively. Dissolution rates of DDB after 30 min from 1 : 10 and 1 : 20 copolyvidone solid dispersions were 80.5 and 95.0%, respectively. For the DDB tablets prepared using solid dispersions (1 : 20), the initial dissolution rate was dependent on carrier material, and was ranked in order, $Kollidon\;30\;{\ll}$ copolyvidone < HPCD. For the HPCD solid dispersion tablets, dissolution rate reached 97.4% after 15 min, but thereafter slowly decreased to 80.7% after 2 hr due to the precipitation of DDB. However, in the case of copolyvidone solid dispersion tablets, dissolution increased linearly and reached 93.4% after 2 hr. Reducing the volume of test medium from 900 to 300 ml markedly decreased the dissolution rate of the tablets containing 1 : 20 HPCD solid dispersions and 1 : 10 copolyvidone solid dispersion. For 1 : 20 copolyvidone solid dispersion tablets, there was no significant change in dissolution rate up to 1 hr with different volumes of test medium. Preparation of the copolyvidone solid dispersion (1 : 20) in capsules markedly delayed the dissolution (31.2 % after 2hr) due to the limited diffusion within capsules. The permeation rate $(13.4\;g/cm^2\;after\;8\;hr)$ of DDB through rabbit duodenal mucosa from copolyvidone solid dispersion (1 : 10) was markedly enhanced, when compared with drug alone or physical mixtures. From overall findings, DDB formulations containing copolyvidone solid dispersions (1 : 20) could be used to remarkably improve the dissolution rate in dosage form of powders and tablets.

• The Journal of Korean Medicine Ophthalmology and Otolaryngology and Dermatology
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• v.31 no.1
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• pp.22-31
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• 2018

Objectives : In this study, we investigated whether Astragali Radix Pharmacocupuncture (ARP) has an effective on the full thickness defect wound healing process of mouse. Methods : A total of 50 mice (ICR mouse, 7 week-old male) were divided into control group and ARP group. A single full thickness skin defect was made on the dorsal side of the each mouse using an 8mm diameter biopsy punch. Control group were treated with 0.2㎖ saline and ARP group were treat with 0.2ml ARP at 8 points around the wound every three days total 4 times during the experimental period. The change in wound size, contraction rate, healing rate, and epithelization rate was measured by digital images taken on days 3, 6, 9, and 13, and evaluated using a digital image analysis program. Tissues were collected for histological analysis, RT-PCR, and Western blot on days 3, 6, 9, and 15. Results : The results are as follows. ARP group accelerated the rate of wound contraction, wound healing and epithelization compared to the control group. ARP group showed the decrease of inflammatory cells in early inflammatory phase compared to the control group. ARP group upregulated PECAM-1 mRNA and protein expression compared to the control group. ARP group inhibited the scar width and area compared to the control group. Conclusions: ARP showed positive effects on wound healing through the inhibition of inflammatory reaction and increase of PECAM-1 expression related to the wound healing process.

• 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.

• (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.