• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.78-97
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• 2021

Seojangdaeyajodo is a drawing of military night training on February 12th (lunar leap month), 1795. Focusing on the Seojangdaeyajodo, the characteristics and of the costumes worn by various types of officials were examined. There were 34 officials located near King Jeongjo in and around Seojangdae, with 27 Dangsanggwan and 7 Danghagwan. They wore three types of costumes, including armor, yungbok, and military uniforms. All of the twelve armor wearers and the five officials wearing yungbok were dangsanggwan, and the military uniform wearers included eleven dangsanggwan and six danghagwan. For the shape of the armor, the armor relics of General Yeoban, suitable for riding horses, and the armor painting of Muyedobotongji were referenced, and the composition of the armor was based on practicality. The armor consists of a helmet, a suit of armor, a neck guard, armpit guards, arm guards, and a crotch guard. The color of the armor was red and green, which are the most frequently used colors in Seojangdaeyajodo. The composition of yungbok was jurip, navy cheollik, red gwangdahoe, socks made of leather, and suhwaja. The composition of the military uniform was a lined jeolrip, dongdari, jeonbok, yodae, jeondae, and suhwaja. There were differences in the fabrics used in dangsanggwan and danghagwan military uniforms. Dangsanggwan used fabric with depictions of clouds and jewels, and danghagwan used unpatterned fabric. Moreover, jade, gold, and silver were used for detailed ornamental materials in dangsanggwan. The weapons included bows and a bow case, a sword, a rattan stick, wrist straps, and a ggakji. In the records of the King Jeongjo period, various colored heopsu were mentioned; the colors of the dongdari and jeonbok of dangsanggwan and danghagwan were referenced in various colors. It was presented as an illustration of costumes that could be used to produce objects accurately reflecting the above historical results. The basic principle of the illustration was to present the modeling standards for 3D content production. Samples of form, color, and material of the corresponding times and statuses were presented. The front, the side, and the back of each costume and its accessories were presented, and the colors were presented in RGB and CMYK.

• The Journal of the Korea Contents Association
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• v.20 no.1
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• pp.617-629
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• 2020

In the historical and cultural blocks with the most concentrated urban cultural heritage, the development of both side streets is impacted by the development of the main street, which shows a gradual decline. The loss of placeness on both side streets has resulted in more empty houses. Therefore, it is urgent to pay attention and take countermeasures to the empty houses in historical and cultural blocks. In this study, the vacant houses on Zhongshan Road in Hangzhou, China were taken as the object of study to understand the location theory and the six dimensions of Matthew Carmona's urban design. Meanwhile, it further analyzed the evaluative features of the placeness of the vacant houses in the historical and cultural street, to provide direction and basis for the flexible using of other empty houses in Zhongshan Road. Then by applying the Analytic Hierarchy Process (AHP), it obtained the importance scale of each evaluative feature and compared the evaluation results of experts with the analysis results of cases, getting the results as follows: In the flexible application of vacant houses in historical and cultural street, the evaluation result of placeness indicates that this kind of usage should be in order of societal level, perceptional level, functional level, morphological level, visual hierarchy and temporal level; among the evaluative features, security, identity, usability, individuality, aesthetics, connection, diversity, openness, continuity, accessibility, order and history should be considered in turn.

• Digital Contents
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• no.3 s.154
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• pp.88-93
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• 2006

올해도 어김없이 발렌타인데이가 지났다. 매년 반복되는 발렌타인데이 풍속에 대해 초콜릿을 앞세운 얕은 상술에 불과하다는 시각이 지배적이긴 하지만, 요즘 연인들은 이런 날조차도 멋지게 자신들의 것으로 만들어 내는 센스를 갖추고 있다. 각종 초콜릿 재료와 아기자기한 포장 장식을 사서 직접 초콜릿을 제작, 정성이 가득 담긴 이벤트를 마련하는 기회로 활용하는 부류가 점차 늘고 있다. 어느 누구도 아닌 바로 ‘내’가 사랑하는 사람에게 줄 선물이기 때문에 나만의 초콜릿 선물을 만든다는 것이다. 이러한 문화는 생활 곳곳에서 발견할 수 있다. 목걸이에도 자신 혹은 연인의 이니셜을 숨김없이 드러내는 제품이 나온다. 맞춤 와이셔츠를 주문하고 소매 깃에 자신의 이름을 새기기도 한다. 시장의 한 축은 대중적인 명품을 추구하는 ‘매스티지(Masstige)’를 향하고 있지만, 그 속에서 사람들은 ‘나’만의 특별한 무언가를 찾고자 한다. 이번호에서는 한창 웹상에서 대두되고 있는 ‘개인화’에 대한 이야기와, 이에 대한 모바일에서의 개인화이야기를 다루려고한다.

• Digital Contents
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• no.2 s.129
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• pp.92-95
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• 2004

애니메이션 편성시간대를 6시대에서 4시30분대로 옮기려는 KBS의 시도가 업계의 거센 반발에 직면해 일단 무산되기는 했지만, 애니메이션 방영시간의 안정적인 확보를 위해서는 현행 방송법을 개정해야 한다는 목소리가 높아지고 있다. 이를 위해 애니메이션 제작자협회 · 애니메이션예술인협회 · 만화애니메이션학회 · 출판만화협회 · 우리만화연대 · 만화가협회 등 6개 관련 단체와 만화가 등 애니메이션 업계는‘방송용 애니메이션 발전전략 촉구 및 개정을 위한 범 만화 · 애니메이션계 공동대책위원회’를 발족, 애니메이션 발전을 위한 대책 강구에 나서고 있다. 공대위는 지난해 11월 초에는 방송 애니메이션 총량제를 강화한 방송법 개정안의 연내 통과와 방송사의 애니메이션 편성 정책 시정을 촉구하는 집회도 열며 총력전을 벌이고 있다. 하지만 지난해내 입법화를 기대했던 애니총량제는 방송법 개정 지연으로 불투명해진데다 최근 들어 중국 · 일본 정부가 강도 높은 애니메이션 육성책을 추진하고 있을 뿐 아니라 제4차 일본 문화개방도 이어지고 있어 국내 애니 업계의 위기감은 더욱 거세지고 있다. 신성장산업인 애니메이션 산업 활성화를 위해서는 애니총량제 등의 법 · 제도적 장치가 마련돼지 않으면 국내 애니메이션 산업은 더욱 깊은 수렁으로 빠질 것이라 게 업계의 공통된 시각이다.

• Proceedings of the Korean Society of Computer Information Conference
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• 2019.01a
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• pp.355-356
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• 2019

글로벌 게임 시장 규모가 전년 대비 13.3% 늘어나고 국내 게임 시장 규모도 전년 대비 6.2%로 증가되고 있는 것이 현재 게임 산업의 현황이다. 그러나 이에 반해 게임을 향한 해킹 공격도 지금 이 순간에도 지능화되고 횟수 역시 기하급수적으로 늘어가는 것도 현 게임 산업의 실태이다. 본 논문에서는 게임을 기반으로 게임 사용자들의 중요한 데이터를 탈취하고 피해를 막기 위해서 좀 더 다른 시각에서 게임 해킹을 방어할 수 있는 방법으로 사이버 보안 테스트를 이용하여 현재 게임 사이트의 보안상태를 점검하고 개선할 수 있는 방법을 제시한다.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.132-141
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• 2012

This paper historically sheds the new lights on the artistic worth and achievement of abstract animation in the animation genre, and presents the contemporary significance and importance of abstract animation through the study on the avant-garde characteristic and the works of abstract animation artist, including Mirai Mizue. Though abstract animation which is artists' experimental work dealing with speed and movement of image has an essential role for the development of modern visual culture and animation, it is losing meaning and value because of the commercialism and capitalism of digital contents industry. Therefore, this paper first presents that the study of experimental animation like abstract animation contributes to the diversification and improvement of digital contents industry then it discusses the effect on the contemporary digital contents industries, next analyze the historical development and comtemporary evolution of abstract animation, which is diversified from modernism to contemporary art, and finally discuss the experimental feature and expression of abstract animation.

• Journal of the Korea Convergence Society
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• v.10 no.2
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• pp.175-182
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• 2019

China, more than any other countries in the world shared similar ideological system with Korea historically. That is confucian patriarchy, which later combined with socialism and capitalism respectively. Therefore, the hardship that modern chinese women had to go through in the course of great social changes would provide meaningful cross cultural insights in various women issues in Korea. Thus this study attempts to focus on Ding Ling, who is considered to be one of the first women that brought the feminism up in China. One of her early works, and from Yan'an days were analyzed to mirror current feminist movement.

• The Journal of the Korea Contents Association
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• v.13 no.6
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• pp.125-136
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• 2013

Director Choi Donghoon is the most famous director in Korea as a box office successor, especially (2102) has gained No. 1 box office attraction in Korean film history. However some critics have criticised the works of Dr. Choi because of their plebeianness. This paper focused on the reason of interaction with audiences through the theory of carnival of Mikhail M. Bakhtin. Because the theory of carnival is not only the adapted method to account for the power of popular culture to M. Baktin but also the useful method to understand the keys of interaction of Dr. Choi's films. It's not difficult to find the esthetic elements of carnival theory example for 'dethronement & coronation', 'overturn & ridicule', 'image of feast', 'language of square' in the films of Choi which are The Big Swindle(2004), Tazza: The High Rollers(2006), Woochi(2009), The Thieves(2012). Therefore this paper has endeavored that the box office attraction and success of communication with audiences is due to the realistic attitude and social reflection of Choi's films.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.634-643
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• 2016

Achieving a certain degree of objectivity is one of main assessment priniciples to meet and self-assessment has been under-used as a formal instrument for assessing students' achievement due to lack of objectivity. Now, this research attempted to look into how students perceived self-assessment and how they engaged in the assessment process. Self-assessments and in-depth interviews with students were collected as main data sources. The results of data analysis are as follows. First, a student' perceptions of self-assessment have been observed to change over a course of a semester. Furthermore, changes in perceptions might have led students to get ownership of their learning. Conclusively, this research proposes that the research of self-assessment be accommodated into the socio-cultural context to demonstrate its desirable influence on students' learning.

• Cartoon and Animation Studies
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• s.20
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• pp.31-45
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• 2010

Stereoscopic 3D animation contents are in the rise as a key part of contents market. Major animation studios are planning to produce 3D animations in a stereoscopic process. This study aims at understanding the visual textuality of 3D animation contents at its early stage. To understand 3D animation, , are analyzed. Stereoscopic 3D animations are exploring the new visual aesthetics using the specific storytelling, sequence ordering, camera working, shot size and camera angles etc. Based on these visual textualities, stereoscopic 3D animations are constructing telepresence, multi-senses of individual spectators. Stereoscopic 3D animations have formed their own aesthetics and cultural meanings in the digital age.