• Cartoon and Animation Studies
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• s.37
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• pp.413-437
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• 2014

As the public Japanese art, print can be said to have started from Ukiyo-e print of Edo period(江戶時代, 1603~1867). Ukiyo-e(浮世繪) print, which 3 persons jointly produce, henceforth has gradually declined since the meiji period(明治時代, 1868~1912) due to the development of new print technique and introduction of western art. Since then, during the daiso period(大正時代 1912~1926), creative print movement grew up. Creative print is, differently from Ukiyo-e print, to be produced by one person, from the original picture to print, focusing on creating the artist's own work by being the main agent of the work. During before and after 1900s, print was evaluated low in Japan, compared to western painting, sculpture, etc. Nevertheless, the facts that several Japanese print artists received awards from international exhibits since 1950s became a big topic internationally, which became an opportunity to hold Tokyo International Print Biennale in 1957 in Japan, the first international art festival. From then on, print was recognized as an art genre while new recognition on it was gradually accepted also in Japan. In 1970, a controversy on it arose, while the characteristic of print as a medium of modern art became strong, accordingly, a controversy on it arose. However, in 1980, it firmly established itself as an art genre by overcoming the crisis through various efforts in the dimension of print artists and university education. Since then, print artists who produce new works with completeness by applying traditional technique and modern expression mode emerged, and until now Japanese modern print art is highly recognized by the world through the continuous overseas activities, research on print art, and cultivation of young print artists. This research looked back on the historical process when Japanese modern print art was created, which represents Asia, and investigated the cause that it could have win an international fame.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.361-395
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• 2019

This paper take a media archaeological approach to cinema transformed into a narrative medium during its transitional period, 1903-1915. To accomplish this, I will explore the question of as which narrative medium cinema was imagined and also how it was institutionalized as a narrative medium with authorship. I will explain that the imaginary and real ideas and changes on cinema resonated with each other on the foundation of its technological aspects such as indexicality, 23 frames/sec. and montage. It was during the transitional period that cinema was transformed from a medium representing spectacle to a medium of narration. The establishment of the American film copyright law in 1912 was an institutional, real outcome from the contemporary understanding of cinema as a narrative medium. At the same time, various ideas emerged that led to imagining of cinema as a complete narrative medium, incomparable to any other. From a media archaeological perspective, the imaginary ideas of media resonate with their actual course of development. These imaginary ideas are not just imaginary, but rather reflect the contemporary desire for the medium. This paper looks into the transitional period based on this media archaeological point of view. To this end, this paper will briefly introduce the notion of media archaeology as a media theory and then discuss Eric Kluitenberg's concept of 'an archaeology of imaginary media' and its methodologies. Second, it will explore literary and cinematic imagining of cinema as a powerful medium of storytelling, while discussing the ways in which cinema's technological characteristics played a decisive role in these imaginings. Also to show the techno-deterministic role of cinema in the real world, this paper will explore how its technological characteristics were considered as an important element in the processes through which America's first motion picture copyright was institutionalized in 1912 after two historical copyright cases: one is Edison v. Lubin in 1903 and Kalem v. Harper Brothers in 1909. Ultimately, this paper will lead us to an understanding of the history of cinema as a medium and its developments in more multi-layed way, as communication between the real and imaginary, and give us perspectives toward what cinema is.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.558-564
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• 2008

The study aims to examine the UCC (User Created Contents) Copyright which use the broadcasting contents. UCC are classified by UGC(User Generated Contents), UMC(User Modified Contents), and URC(User Recreated Contents). Especially UMC and URC correspond to a problem of copyright. Following the Copyright Protection Center investigation in 2006, it reported that 83.7% UCC are infringement of copyright. In spite of remarkable the UCC copyright problem, the concrete resolution does not exist. Also it is difficult to apply the offline legal conformity because of online nature of the UCC. The study observes the UCC copyright dispute instances which use the broadcasting contents and investigates a resolution of the UCC copyright. Considering the online media nature, it tries to analyse CCL(Creative Common License) as the ODR(online Dispute Resolution). It is meaningful to search the possibility of UCC copyright problem through the online technical embodiment.

• Cartoon and Animation Studies
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• s.49
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• pp.299-323
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• 2017

Interests to cultural prototype as a material of cultural contents are getting more increasing nowadays. One of them is myth. The important thing when you are dealing with the myth as the material that how to convert prototype narratives. Today, digital culture is becoming one of the essential elements of mankind, that is a new sociocultural phenomenon and distinguishing differentiation from the past analogue era. In this regard, the combination of mythology and digital culture is effective strategies for transforming storytelling that can resonate with people who are not familiar with myths. puts the view both of this world and underworld, mythical characters, and various elements of the Grim Reaper into the story. And combines them with digital elements. sets the world that the transcendental soul exists as physically transferred data form. and reinterprets the traditional mythology world into the digitally operated world. Soul-Phone from this anime reflects the digital culture such as storage and transmission, and helps enjoying audiences accept the unfamiliar world of myth. And also It symbolically shows dystopian viewpoints through side effects can caused by digital technology development, such as the instrumentalization of human being, the risk of communication through digital media, and ego-loss caused by duplication, etc. In conclusion, forms a consensus with the audience through the transformation strategy of storytelling that converts the world of myth into the digital world. And it reflects the dystopian view and shows a differentiated world view from the narrative of myth.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.175-198
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• 2022

With the development of technology, the methods of digitally converting various forms of analog information have become common. As a result, the concept of recording, building, and reproducing data in a virtual space, such as digital heritage and digital reconstruction, has been actively used in the preservation and research of various cultural heritages. However, there are few existing research results that suggest optimal scanners for small and medium-sized relics. In addition, scanner prices are not cheap for researchers to use, so there are not many related studies. The 3D scanner specifications have a great influence on the quality of the 3D model. In particular, since the state of light reflected on the surface of the object varies depending on the type of light source used in the scanner, using a scanner suitable for the characteristics of the object is the way to increase the efficiency of the work. Therefore, this paper conducted a study on nine small and medium-sized buried cultural properties of various materials, including earthenware and porcelain, by period, to examine the differences in quality of the four types of 3D scanners. As a result of the study, optical scanners and small and medium-sized object scanners were the most suitable digital records of the small and medium-sized relics. Optical scanners are excellent in both mesh and texture but have the disadvantage of being very expensive and not portable. The handheld method had the advantage of excellent portability and speed. When considering the results compared to the price, the small and medium-sized object scanner was the best. It was the photo room measurement that was able to obtain the 3D model at the lowest cost. 3D scanning technology can be largely used to produce digital drawings of relics, restore and duplicate cultural properties, and build databases. This study is meaningful in that it contributed to the use of scanners most suitable for buried cultural properties by material and period for the active use of 3D scanning technology in cultural heritage.

• Journal of Christian Education in Korea
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• v.66
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• pp.413-437
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• 2021

Humans are created as spiritual beings that can relate to God. However, when a human spirit refuses to transform through confronting God, it experiences a crisis. A spiritual crisis results from disconnecting with God, who is the ultimate foundation, but we humans try to overcome such absence through accomplishments and efforts. In this technological age, the ethics issues of AI (Artificial Intelligence), robots, and cloning are related to anthropology. The development of the mind, heart, and logic cannot suggest a basis for destruction and confusion as much as the development of the world. In fact, education focused on the human mind cannot be considered holistic. Mind, together with thought, will, and belief, plays a crucial role in making choices and leading a human life. So it is actively studied in other domains other than Christian education. However, although the human spirit takes care of some territory of humanity, unlike the mind, it can neither be partial nor fragmentary. Instead, it manages the transformation that influences the core of human life. Therefore, Christian education must clearly concentrate on the spirit rather than on other human elements, intentionally concerning spiritual transformation through encounters with God. In other words, Christian education is the passage connecting a human spirit to God's presence at work, which enables us to understand the human being as a whole. For this, we must put our efforts to increase the chances of encountering God through Christian education. While "Encounter" requires both parties' interaction, "Transformation" stresses God as the main agent and His proactive nature. I also want to emphasize "worship" as the opportunity to communicate and experience God in our daily lives. By examining the preparation and the process of the spiritual transformation of humans, this paper would offer a theological foundation for continued transformation of the human spirit in the faith community, rather than personal experience or conviction.

• Journal of the Society of Cosmetic Scientists of Korea
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• v.23 no.1
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• pp.5-20
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• 1997

War and poverty depress the consumption of cosmetics, while peace and prosperity encourage their proliferation. With the end of World War II, the US, Europe and Japan witnessed rapid growth of their cosmetic industries. The ending of the Cold War has stimulated the growth of the industry in Eastern Europe. Improved economies, and mass communication are also responsible for the fast growth of the cosmetic industries in many Asian nations. The rapid development of the cosmetic industry in mainland China over the past decade proves that changing economies and political climates can deeply affect the health of our business. In addition to war, economy, political climate and mass communication, factors such as lifestyle, religion, morality and value concepts, can also affect the growth of our industry. Cosmetics are the product of the society. As society and the needs of its people change, cosmetics also evolve with respect to their contents, packaging, distribution, marketing concepts, and emphasis. In many ways, cosmetics mirror our society, reflecting social changes. Until the early 70's, cosmetics in the US were primarily developed for white women. The civil rights movement of the 60's gave birth to ethnic cosmetics, and products designed for African-Americans became popular in the 70's and 80's. The consumerism of the 70's led the FDA to tighten cosmetic regulations, forcing manufacturers to disclose ingredients on their labels. The result was the spread of safety-oriented, "hypoallergenic" cosmetics and more selective use of ingredients. The new ingredient labeling law in Europe is also likely to affect the manner in which development chemists choose ingredients for new products. Environmental pollution, too, can affect cosmetics trends. For example, the concern over ozone depletion in the stratosphere has promoted the consumption of suncare products. Similarly, the popularity of natural cosmetic ingredients, the search of non-animal testing methods, and ecology-conscious cosmetic packaging seen in recent years all reflect the profound influences of our changing world. In the 1980's, a class of efficacy-oriented skin-care products, which the New York Times dubbed "serious" cosmetics, emerged in the US. "Cosmeceuticals" refer to hybrids of cosmetics and pharmaceuticals which have gained importance in the US in the 90's and are quickly spreading world-wide. In spite of regulatory problems, consumer demand and new technologies continue to encourage their development. New classes of cosmeceuticals are emerging to meet the demands of increasingly affluent Asian consumers as we enter the 21st century. as we enter the 21st century.