• KOREAN JOURNAL OF CROP SCIENCE
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• v.62 no.3
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• pp.193-202
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• 2017

This study was carried out in 2014 and 2015 to investigate the effect of transplanting density on panicle production and to analyze the relationship of panicle production with yield traits in the mid-maturing quality rice cultivar 'Haiami' in the mid-plain area of Korea. Number of tillers per square meter increased by reducing planting distance and increasing seedling number per hill. These effects were maintained until maturity and were reflected in the final number of panicles per square meter, although the effect of planting density decreased as rice growth progressed. However, increased panicle number per square meter following dense planting did not improve head rice yield. Panicle number per square meter was negatively associated with spikelet number per panicle and was not correlated with other yield components or head rice yield. Head rice yield was not correlated with head rice percentage but was closely and positively correlated with milled rice yield. Milled rice yield did not increase with grain filling percentage but increased with spikelet number per square meter. Spikelet number per square meter increased with both spikelet number per panicle and panicle number per square meter, although the former had a greater influence. Therefore, we conclude that head rice yield of the 'Haiami' cultivar grown in the mid-plain area of Korea is not improved with an increased panicle number following high planting density but it could be improved with high milled rice yield by increasing spikelet number per unit area.

• Cartoon and Animation Studies
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• s.29
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• pp.209-241
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• 2012

Is a failed blockbuster film? Is there no room for reconsideration of the value of the film in terms of its contents and forms? The purpose of this study is to answer these questions. In 2007, SHIM Hyung-rae's was in the limelight due to the nationalist discourse around the film rather than evaluation of the film itself. In terms of its narrative and formal properties, the film showed the difference from the Korean nationalist blockbuster films. It led to the disaccord and hard-to-understand results of having somewhat disappointed box-office success of 8,500,000 audiences in comparison to the input, of receiving well by a generous part of the audiences absorbed by nationalism, and of getting the critics' cynic criticism of the film's cinematic value. Eventually only provided the cultural battlefield of nationalism, was left as an unnoticed film in the realm of industry and criticism. However, it was interesting that there was a common ground between the film's supporters and the cynic critics. Both sides were being acknowledged that the spectacle of was way out of proportion to the degree that the spectacle was unbalanced with the story unfolding, achieved more than expected. Its spectacle overwhelming the narrative enfever a few audiences, and at the same time, it provided some reasons making critics face away from the film. In this context, the purpose of this study is to examine 's aesthetics that 'the spectacle dominating narrative' or 'the narrative as a pretext for showing spectacle,' leading to discussion of artistic/theoretical/critical value and to find out cinematic value of the film being regarded as a failure. In addition, this study is significant in that it suggests that is a new kind of moving image that it cannot be analyzed with existed critical methods of narrative film criticism; as a result, this study provides the chance to be evaluated through a new conceptual frame of the film. In order to grasp the narratological aesthetics, this study focuses on the concept of trickality that Andre Gaudreault suggests, and Tom Gunning's 'the cinema of attractions,' referring to the spectacle-oriented narrativity or the mode of production displaying the spectacle more than the narrative.

• Cartoon and Animation Studies
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• s.17
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• pp.117-132
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• 2009

The purpose of this study is to analyze the way of representing women in and which producted and released in 1972, the year of Revitalizing Reform System starts. Each films intended to construct some conventional popular codes for persuading the public. Considering this contexts, it is true there was a little difference between these two films and the national cinema which undertaken on a full scale after Revitalizing Reform System started. But we can also find that each films revealed the intention of ruling ideology suturing the opposite values resulted by the specificities of Modernizing project during the Park Chung-Hee reign using a strategy which represents women officially. These women who were wholly integrated with the official discourses would proposed a ideal stereotype which supports the Developmental mobilization regime and through this strategy the Park Chung-Hee reign wanted to construct a new group identity of women as the very proper elements of Nation.

• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.494-504
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• 2021

The spread of Over-The-Top (OTT) service, which represents Netflix, and the social distancing caused by COVID-19, acted as an overall bad news for domestic multiplex movie theaters. In addition to this, the phenomenon of digital shifting was added, and the need for domestic offline movie theaters to seek a new market for growth emerged. This study focused on the concept of consumer value perception amid this problem consciousness, and attempted to investigate the relationship between the brand image of multiplex movie theaters and purchase satisfaction according to the type of consumer value perception. After data was sampled through a questionnaire survey to a total of 350 subjects, the results of empirical analysis according to the study model are as follows. Among the types of value perception of offline movie viewers, practicality had the strongest influence on brand image construction, and self-faithfulness had the strongest influence on purchase satisfaction of offline movie watching. In addition, the brand image of offline movie theaters had a positive(+) effect on the purchase satisfaction of moviegoers. Based on this, this study suggested a new survival strategy in the new normal era of offline Multiplex Cinemas.

• 건강소식
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• v.35 no.5
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• pp.32-37
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• 2011

안성 하면 가장 먼저 떠오르는 단어는 안성맞춤이 아닐까. 제 짝이 아니었던 것을 갖다 맞출 때 매우 잘 맞음을 비유하면서 '안성맞춤'이라는 말을 쓴다. 안성의 유기제품은 장인정신과 뛰어난 솜씨로 정성껏 만들어 품질이나 모양 등 기교면에서 사람들의 마음을 만족시켰기에 '안성맞춤'이라는 말이 탄생한 것. 그러나 5월의 안성은 다른 의미로 '안성맞춤'이 성립한다. 봄이란 계절이 주는 설렘, 영화 '왕의 남자'와 함께 유명세를 치른 남사당, 5월에 더없이 좋을 안성허브마을, 서울에서 두어 시간이면 갈 만큼 가까운 거리의 안성이야말로 봄의 여행지로 안성맞춤이지 않겠는가.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.108-116
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• 2013

Park Jung-hoon started his acting career in movie since undergraduate year at Chungang University, Drama and Cinema school, and till now he is a very active and nationally beloved actor in Korea. However, to this day there isn't any study about him, so this study might be the right time to take a look at his acting style again. This report will find and review his distinctive patterns in acting, and roughly assess the character expression from character, Dong-chul, in the movie, My Dear Desperado; which has been evaluated as the best movie to show the inner side of character. His acting pattern is segmented by 3 parts; Park Jung-hoon style comical acting, expression of macho side of masculinity, and subtle inner emotion expression acting. Then his acting technique is analyzed from character Dong-chul in the movie, My Dear Desperado, which he acted out change in character from low-class nonsense gangster to a good-hearted man flawlessly. In addition this report will try to find his acting technique that made impossible distance between the characters possible. This study hopes to start and continue other studies that discuss many movie actors' and actresses' different character expression method and their training technique, also wish many actors and actresses could find helpful in their acting training.

• Trans-
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• v.1
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• pp.45-66
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• 2016

The study uses the image technique of the movie (analysis) since there are limited analyses and data of the dance film's (cinematic) grammar. The films are limited to the Wim Vandekeybus's Blush. From the analysis of the one film, films are directed using basic movie grammars. Although the films are of the same genre, it differs from the method of using image techniques as well as the director's personal art preference. The cinematic grammars enhance the effect of the movement and it emphasizes the objectives to deliver the audience true meaning of the films. Dance film is not a simple word combination of dance and film to record new type of art; dance is used for the movie's artistic and aesthetic enhancement. To find out dance is the language and important expressive tool of the dance film, at the same time cinematic grammar enhances effect of dance and objective of the film, the study uses image technique analysis. These are the results of dance film analysis by using image techniques. Firstly, Dance film can transcend time and space. Secondly, The creative director could emphasize some part that the audience should focus on to clearly deliver the intention of the choreographer. Lastly, To popularize the dance genre. If the dance film produces with more diversified stories than the resent, it will be a part of a cultural industry and could create profits. Dance film might lose the sense of realism, which is the main characteristic of the stage art; however it could feel the beauty of the film through the mise en scene.

• Journal of Korean Philosophical Society
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• v.142
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• pp.221-241
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• 2017

I try to elucidate the essence of cinematic art in terms of Nietzsche's physiological philosophy of art. According to Nietzsche, the mise-en-$sc{\grave{e}}nes$ in the film are expressions of willingness to the power of the author, the director. These are not re-imitations of the imitations with Platonic measure, sinker, number, but framing the elan vital Erde, die $urspr{\ddot{u}}ngliche$ Vorstellung with the director's body-camera. In this context, the film is essentially die Kunst des Lebens, in which the body and the earth are mediated by cameras. Therefore, it is not the eyes or the head, but the body that is necessary to appreciate film art. But the body at this time does not mean the heavy body of Hollywood standard audiences manipulated, controlled, or transformed by capital. We should stand in front of the film work with body shaking between trauma and Rausch, a dancing body, and a light and fresh body. Only by watching film with the body, can we achieve the small revolutions in everyday life. For example, if we watch $B{\acute{e}}la$ Tarr's film The Turin Horse in such a way, we can no longer be the dwarfed human beings, der Herde-Mensch. Also, $B{\acute{e}}la$ Tarr's mise-en-scene will make us realize why Nietzsche had said that there is art to us not to be destroyed by the platonic truth.

• Cross-Cultural Studies
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• v.53
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• pp.193-218
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• 2018

In this essay, I examine the interactions of chronotopes in the narrative of Gangnam Blues, a film written and directed by Yu Ha and released in 2015. Bakhtin's chronotope, the connectedness of temporal and spatial relationships in literary narratives, provides the background for the representability of events and becomes the organizing center for the events. Each chronotope offers a different way of acting, interacting and understanding experience, and chronotopes can interact with each other in a single text or between the reader and the represented world. Gangnam Blues is a gangster movie, first of all, showing an individual's illusion of an unlimited possibility for achieving wealth and power. At the same time, the film describes the government's project to transform Gangam, a rural area in the south of the Han, into a new downtown and residential area for Seoul. As the world in the narrative and the world of the author or the reader are all chronotopic, we can see the interactions of chronotopes between the narrative of an individual and the historical narrative, as well as between the narrative about the beginning of Gangnam and the audience's perception of the present Gangnam. In this film, the main character's ambition is shown as part of the social desire for rapid economic achievements in the 1970s, along with high social mobility. The social desire can be explained as envy, as it is fueled by social comparisons and competitions. The main character's pursuit of money and power through the possession of Gangnam land overlaps with the envious desire for the present Gangnam shared by many. The individual's exceptional ambition and violence are not fully examined in this text. Moreover, the film's dependence on the feelings of envy to represent the individual's choice and violence can be a symptom of the lack of critical distance from social desire and envy.

• Journal of the Institute of Electronics Engineers of Korea SC
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• v.46 no.2
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• pp.61-71
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• 2009

In this paper, we propose a low-cost and compact motion capture system which enables to play motion games in PS2(Play Station 2). Recently, motion capture systems which are being used as a part in film producing and making games are too expensive and enormous systems. Now days, motion games using common USB camera are slow and have two-dimension recognition. But PSD sensor has a few good points, such as fast and low-cost. In recently year, 3D motion capture systems using 2D PSD (Position Sensitive Detector) optic sensor for motion capturing have been developed. One is Multi-PSD motion capture system applying stereo vision and another is Single-PSD motion capture system applying optical theory ship. But there are some problems to apply them to motion games. The Multi-PSD is high-cost and complicated because of using two more PSD Camera. It is so difficult to make markers having omni-direction equal intensity in Single-PSD. In this research, we propose a new theory that solves aforementioned problems. It can measure 3D coordination if separated two marker's intensity is equal to. We made a system based on this theory and experimented for performance capability. As a result, we were able to develop a motion capture system which is a single, low-cost, fast, compact, wide-angle and an adaptable motion games. The developed system is expected to be useful in animation, movies and games.