• Journal of Popular Narrative
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• v.25 no.3
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• pp.181-209
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• 2019

The purpose of this article is to compare zombie narratives in relation to the Other. In previous research, the view of zombies as post-capitalist soulless consumers or workers has been frequently expressed. But in this article, I wanted to look at zombies as the main cause of the collapse of the world and a new future. First, zombies do not only mean the representation of the consumer in the late capitalist era. Rather, it is an awakening subject desiring the outside of the system. As you can see from the Uncanny's point of view, zombies are something that we should oppress as freaks and monsters that threatened the Other. To be a zombie in this way is to meet one's other self, the "Fundamentals of Humanity," and it is the moment when everything becomes the subject ex nihilo, the new beginning. Second, the concept of infection shows a new ethic. Zombie cannibalism is different from the selfish love of a vampire who sucks a worker's blood. Zombie cannibalism is an infection, which is a model of Christian love for one's neighbor. It is a moment of awakening and the beginning of solidarity. It is on the waiting for the solidarity that the zombie hangs in such a way, and the attack on the human being is an active illusion. Third, the situation of the end of a zombie narrative is another event for newness. The anger of a zombie serves not just to show monsters, but acts as a catalyst that accelerates the world's catastrophes. The anger of zombies is the messianic violence that stops the false world, and presents a new way. The emergence of zombies and the popular response to them embody a desire for the possibility of a new subject and world.

• Korean journal of communication and information
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• v.80
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• pp.7-39
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• 2016

This essay deals with the bulk of problems of media raised by social inequality. I attempted to examine the relationship between inequality and media/information. In adopting the method of political economy based on dialectical viewpoint, I argue that collaboration among Chaebol, media, power result in the media capitalism. This mode of production has brought about the decline of public service and democracy. It led the Korean industrial capitalism to media capitalism. This mechanism is a dominant but unfair system with grasping of wealth, power, information. The media capitalism, based on profit, privatizations, power monopoly, remains democracy and public service in retreat. Chaebol-media-power complex plays an important role in cementing the establishment. We are reminded how much the dominant system has deteriorated the public interests of the media market and information.

• Transactions of the Korean Society of Automotive Engineers
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• v.23 no.3
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• pp.315-325
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• 2015

Smart Car market has been experiencing continuous growth to drive leading companies in automotive and IT industries to focus on advancing related technologies. As the IT technologies fuse into automotive technologies, the patent litigation has been showing changes. One of the prominent changes in patent litigation pattern of Smart Car field is the increased activities of the Non-Practicing Entities (NPEs), whose main field has been the IT area. However, the automotive companies have been mainly focusing on preventing patent disputes against competitors through trend analysis, which caused them to become relatively vulnerable to the attacks from NPEs. In this study, we developed a methodology for monitoring and analyzing the activities of NPEs using network analysis tools to suggest effective strategies for manufacturing companies to fortify their ability to respond against unanticipated attacks. Our methodology, which is developed for the Smart Car field, can also be useful for other fields such as IT and electronics.

• English & American cultural studies
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• v.14 no.2
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• pp.49-75
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• 2014

This paper argues that John Leguizamo disguises ethical intention with humor in his one-person show, Freak. The argument proceeds in three stages. First, on the basis of Slavoj ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory that fantasies teach us how to desire discussed in The Sublime Object of Ideology, I analyze how and why Leguizamo exaggerates and thus de-constructs the ideological fantasies about Latin Americans in Freak. Through this analysis the ridiculous exaggeration of the fantasies and their deconstruction emerges as the means to surface the trauma caused by the fantasies, internally and externally curing and reconciling the audience. Second, I apply ${\check{Z}}i{\check{z}}ek^{\prime}s$ theory of the quilting point introduced in Looking Awry: An Introduction to Jacques Lacan through Popular Culture to reveal how "blots" in Freak form "black holes" in the audience's consciousness to smash their established view of the reality, inducing them to encounter with "the real." The investigation into Leguizamo's use of humor as the quilting point illuminates how he invites the audience to look awry beyond the popular fantasy at "the real" America. Third, on the ground of Emmanuel Levinas's theory that theaters are the space of ethics, namely "ethotopos" to emphasize responsible actions discussed in "Ethics as First Philosophy," I assert that Leguizamo disguises his ethical message with humor so as for the audience to recognize their responsibility for others in America and take action towards change.

• Cartoon and Animation Studies
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• s.16
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• pp.141-163
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• 2009

This paper examined the goblin characters in Japan animation. The meaning of the goblin in this paper is not a just monster. They have a spirit. This concept is based on animism in japanese mind. I attempted a chase of goblin character's making methods. My theoretical approaches lean on the concepts "inter-textuality" of Julia Kristeva and "text" of Roland Barthes. First of all, I compared some beings of the old chinese myth-geographical book with some characters of Japan animation . The making method of goblin characters is two. One is 'Hybrid', the other is 'Mutant'. And than I appled to Japanese traditional image, "Baek-kuy-ya-hang-do"(hundreds of goblins' parade). The making method of goblins is combined to a inter-textual way as hybrid or mutant.

• Proceedings of the Korea Contents Association Conference
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• 2009.05a
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• pp.273-276
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• 2009

The development of computer hardware equipments and computer graphics technique has taken lots of changes in a movie production of VFX (visual effects) part. Particularly, through the developing of various computers graphic techniques to create imaginary creatures in a movie as high resolution like a real, weight and percentage of creature's appearance in a film is increasingly higher than past year. Creatures play an important role in a various movies such as monster films 'D War' and 'The Host', as well as fantasy films 'Harry Potter', 'The Chronicles of Narnia' and "The Lord of the Rings". The fact that authorized movie sites and organizations rank monsters in diverse processes is to show it. Nevertheless significance and priority of creatures are increased day by day, there are rare to see a basic research about classification and materiality of creatures. In this study, it is organizing materiality of creatures and designing realistic and convincing creatures to help efficient visualization from now on.

• Journal of the Korea Computer Graphics Society
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• v.18 no.3
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• pp.17-27
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• 2012

In this paper, we describe a case study of the film 'Sector 7' which was produced by technologies applied fluid simulation. For the CG scenes in the movie which include highly detailed fluid motions, we used smoothed particle hydrodynamics(SPH) technique to express subtle movements of seawater from a crashed huge tank, and used hybrid simulation method of particles and levelsets to describe bursting water from a submarine's broken canopy. We also used detonation shock dynamics(DSD) technique for detailed flame simulations to produce a burning monster, the film"s main character. At this point, the divergence-free vortex particle method was applied to conserve the incompressible property of fluids. In addition, we used an upsampling method to achieve more efficient video production. Consequently, we could produce the high-quality visual effects by using the domestic technologies.

• Journal of Environmental Health Sciences
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• v.44 no.6
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• pp.556-562
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• 2018

Objectives: This study was conducted to investigate the boron concentrations in 30 slime products and estimate children's dermal exposure to boron. Methods: Thirty slime products from online and offline stores were purchased for boron analysis. The boron content of each slime sample was analyzed using ICP-OES. A nationwide survey was performed to determine use patterns of slimes by a home-visit survey of 10,000 children divided into three age groups: 0-2, 3-6, and 7-12 years. The dermal exposure to boron was calculated using an exposure algorithm for child slime users. Results: The proportion of the child population using slime was 45.8%, and the mean use frequency was $2.5{\pm}3.8$ per week (range: 0.08-35). Mean time spent playing with slime was $19.6{\pm}11.3min$ (range: 1-100). Twenty-five of the thirty slimes contained a boron concentration exceeding the EU limit for toys made with sticky material of 300 mg/kg. Dermal exposure ranged from $0.0008-13.78{\mu}g/kg/day$ with the maximum weight fractions of boron in the 30 products. The dermal exposure estimate was the highest in 7-12 years old group. Conclusion: Slime use among Korean children may cause high exposure to boron. Regulation is needed to minimize boron exposure from slime products.

• Cross-Cultural Studies
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• v.46
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• pp.281-296
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• 2017

Andrei Amalrik's plays are a unique phenomenon in the 70 years' history of Soviet drama. Half a century after the Soviet theater had intentionally forgotten its own achievements of avant-garde dramaturgy in the early 20th century, his bizarre plays suddenly emerged in the Soviet theater environment, completely separated from contemporary Western practices of the experimental theater. Surprisingly even now, Amalrik's plays have almost been forgotten not only in Russia but also by foreign Russian literary scholars. Amalrik's autobiographical essay is his only book published in Russia after the collapse of the Soviet regime. There is no collection of his works, and reevaluation of his work is not found even in Russia. However, Amalrik is a writer who should get a proper evaluation. The purpose behind studying his plays is to restore the tradition of Russian grotesque-absurd dramaturgy, which has been inherited from Gogol, Khlevnikov, Mayakovsky, and Oberiu. In this paper, we will analyze the mechanism of composition in Amalrik's plays.

• English & American cultural studies
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• v.14 no.2
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• pp.251-285
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• 2014

Monsters cannot speak. They have been objectified and represented through a particular concept 'monstrosity' that renders the presence of monsters effectively simplified and nullified. In contemporary monster narratives, however, the site of monsters reveals that they could be the complex construction of society, culture, language and ideology. As going into the structure that concept is based on, therefore, meanings of monsters would be seen to be highly unstable. When symbolic language strives to match monsters with a unified concept, their meanings become only further deferred rather than valorized. This shows the language of monsters should disclose the self-contradiction inherent in 'monstrosity,' which has made others—namely beings we define as 'different' from ourselves in culture or physical appearance—embodied as abject and horrifying monsters. Unable to be understood, accepted, or called humans. I analyse Frankenstein and Dracula that firmly converge monstrous bodies into a symbolic meaning, demonstrating how this fusion causes problems in the multicultural society. I especially emphasize the undeniable affirmation of expurgated others we need to have empathetic relations with, because their difference, unfamiliarity, and slight divergences are likely to be defined as abnormalities. In the multicultural society, thus, we must learn to embrace diversity, while also having to recognize there are many others that have been thought of as monsters; ironically enabling us to think about an undeniable imperative of being responsive to other people. In this respect, the monstrous inhuman goes to the heart of the ethical undercurrent of multiculturalism, its resolute attempt to recognize and respect someone else's difference from me. A focus on empathetic relations with others, thus, can strengthen the process of creating social mechanisms that do justice to the competing claims of different cultural groups and individuals.