• Cartoon and Animation Studies
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• s.16
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• pp.125-140
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• 2009

In the1970's, Korean movie industry was down because of widely supplied Television. During the time, directed by Kim Cheong-ki was Big hit at the box-office that is bring Korean feature animation industry back to life. In 80's, when new military regime started, SF animation was prohibited to be on air by government because that assumed have bad influences on children, and korean animation industry was faced with recession, such as various imported foreign animations which were on color TV and wildly provided video recorders. At that time, director KIM Cheong-ki try to overcome the recession of animation industry by producing, < David and Goliath>, which was based on the Bible. The Bible, was based on the historical facts and had written by the time flow, that made few changes while it was transformed to a feature animation. Animation does not only reproduce the reality as it is, but also analyzing the story to create a new reliable world, by changing characters, creating new supporting characters, and expanding and reducing of narrative. Despite of such an effort, didn't achieve it's goal at the box office and not satisfied audience either because it was excessive reproduction of the Bible, not standing on the basis of those days social and cultural environment and popularity. This study is aimed at confirming changed narrative shown Kim Cheong-Ki's, and compare it with two other animated, directed by others, so that suggest the new direction of the religious feature animation production.

• The Journal of the Korea Contents Association
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• v.13 no.12
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• pp.638-649
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• 2013

This study focuses on analyzing the trend of Korean movies and the issues caused by industrialization and the alternatives. The results are as follows: first, there does not exist distinctive genre movie as most of the movie producers concentrate on thoughtless genre fusion of movie, simply hoping for box office success. Second, Giant companies that has large amounts of money and distributors tend to monopolize production, distribution, and running of movie. Consequently, the development of diversity and artistry is absolutely impeded. Third, the structure of Korean movie industry make some well-known movie stars survive the film world and staff members and actors except them face economic difficulty. The solution plans for the problems mentioned above can be drawn like this; first, genre film with distinctive features should be developed. Second, the monopolistic structure of the screen should be changed. Legal organizations are required to redesign the system of unfair Korean film industry. Third, it is suggested that quantitative expansion of special theaters of diversity film be urgently needed. Fourth, appearance fees given to popular movie stars, actors, and staff members have to be provided in a balanced way. Fifth, the way for revitalization of film production should be found through the legal examination of fund for film development. Last but not least, the profit from the additional film market ought to be made.

• Cartoon and Animation Studies
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• s.36
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• pp.493-510
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• 2014

From game consoles to TV and Hollywood films, 3D rendering technology is involved in various fields. Up until the late 90s, the computer image rendering method was rasterization that mainly used Phong Shading, and up until recently it was the go-to method for movies and film animation. In the 21st century, the quality provided by Ray Tracing and the development of Global Illumination was much more realistic and thus became popularized. However, despite its growing use in architectural rendering to the markets, Global Illumination in film animation and movies was limited due to its long render time. So, in this thesis, if one were to take the concept from each rendering method and consider it from a mathematical perspective, one could adapt the Ambient Occlusion's equation to the illumination loop equation used in rasterization. This algorithm modification has the capability to reflect the lighting of a diverse array of colors, like in Global Illumination, with a fast render time, as in rasterization, and the example RenderMan Shader is based upon this new algorithm. In conclusion, with Global Illumination's naturalistic lighting and rasterization's rendering speed, the combination of the best points of each is a new method with a short rendering time while producing good quality. I hope animations and films can benefit from this algorithm by the reduction of budget with an overall better quality output in VFX production.

• Review of Culture and Economy
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• v.17 no.2
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• pp.63-80
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• 2014

This study evaluates the importance of negotiation agendas and the possibility of reaching the Korea-China FTA agreement. It assesses the current situation of trade barriers in the audiovisual service sector of China and then examines a survey of practitioners and experts to screen important regulations. The results are as follows: First, considering the national economic situation in Korea and the environment of the Chinese trade barrier, an important agenda is to enable the direct service of online games and to reach a co-production agreement in the audiovisual service sector. Second, an agenda regarding the co-production agreement of an audio-visual service sector has high potential to be realized, followed by agendas regarding online game and music services. In the broadcasting and film service sectors, with their high cultural identity, a mutual cooperative approach is needed. Korea bringing up the agenda regarding online service may allow it to gain a net benefit for the next FATs. To realize a mutual cooperative approach, it is necessary to form a frame of mutual interests and cooperation through a co-production agreement of audio-visual service. If both countries agree to acknowledge co-produced content as each country's contents, both would benefit.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.7 no.5
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• pp.982-991
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• 2006

The screen quota system is one of the most controversial issues in the Korean film industry. There are two different points of view regarding the system. Some say it is highly effective to protect and nurture Korean movies. However, others argue that it hurts the duality of the Korean movies. The number of days, for which Korean movies have to play on local screens, has been reduced to 73, starting on July 1st, 2006. Actually, it is 50 percent fewer than the previous year. In facL Korea has implemented the screen quota. system two times. First, it was practiced from 1935 to 1945, during the Japanese colonial period. This was to regulate imported movies, especially American ones, as the Japanese government was to use movies for the political propaganda. In 1935, the number of foreign movies screened had to be less than three fourths of the total. And they gradually reduced the size by two thirds in 1936, and again by half in 1937. After the attack on Pearl Harbor when the Pacific War happened, Japan completely banned importing American movies in Korea. The reason why it regulated the imported foreign films is to increase the number of domestic movies, both Japanese and Korean. It was for making propaganda films fur carrying the war. The second practice of the screen quota is from 1967 to the present year. It was designed to boom the Korean film industry. However, the competitive power of Korean films has not been improved in spite of the practice of the system. Moreover, the film industry has gone through the depression. Korean film agencies have occupied the Korean film market thanks to the protection by government. The founding of the film agencies has been strongly regulated. So has importing foreign movies. Under the special protection like this, Korean film agencies have been enjoying the monopoly In the mean time, they have pursued income not by making quality movies but by importing foreign movies. As a result, cinema audiences turn away form Korean films and prefer foreign movies. Furthermore, the screen quota system hurts the relationship between film producers and distributors, imposing the duties only on theaters. In short, the screen quota system has satisfied neither film producers, theater runners, nor film goers. In other words. the excessive protection has weakened the competitive power of Korean film industry.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.21 no.2
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• pp.345-352
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• 2017

In this paper, a unified potentiostat which can measure the current of both $O_2$-based and $H_2O_2$-based blood glucose sensors with low supply voltage of 1.0V has been designed and verified by simulations and measurements. Potentiostat is composed of low-voltage operational transconductance amplifier, cascode current mirrors and mode-selection circuits. It can measure currents of blood glucose chemical reactions occurred by $O_2$ or $H_2O_2$. The body of PMOS input differentional stage of the operational transconductance amplifier is forward-biased to reduce the threshold voltage for low supply voltage operation. Also, cascode current mirror is used to reduce current measurement error generated by channel length modulation effects. The proposed low-voltage potentiostat is designed and simulated using Cadence SPECTRE and fabricated in Magnachip 0.18um CMOS technology with chip size of $110{\mu}m{\times}60{\mu}m$. The measurement results show that consumption current is maximum $46{\mu}A$ at supply voltage of 1.0V. Using the persian potassium($K_3Fe(CN)_6$) equivalent to glucose, the operation of the fabricated potentiostat was confirmed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.91-100
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• 2019

It is an undeniable that cultural landscape of Korea is centered in Seoul, where all the cultural powers are oriented. From this aspect, a municipal theatre of Daegu (Daegu Municipal Theatre), where is considered an area somewhat isolated from the perspective of culture, has managed to develop theoretical programs serving public purposes through efforts on the diversification of performance programs, development of creative plays, acceptance of open direction, classic, modern and experimental plays, foreign exchange, musicals and non-verbal, development of modern and post-modern history of the region, aggressive exploration of subjects, and characterization of the theater through citizen-participated programs and communication with citizens. With such efforts on diversification of public benefits and communality conforming to its purpose, it has been recognized for its contribution to the recovery of popularity of performance art and plays in Daegu. The Daegu Municipal Theatre, celebrating the 20th anniversary of establishment this year and having Choi Ju-Hwan as its fifth art director, has managed to conduct various experimental attempts to gain popularity and these include the exploration of the region and its historical figures, development and promotion of creative musicals, and promotion of communication between citizens and performance culture and of participation of audiences, in turn having a stabilized operation system. Such changes are seemed to be attributable to the maturity of performance production and roles of senior members. From this aspect, this study aims at investigating the changes in the Daegu Municipal Theatre and 'roles and popularity of national/public theatre companies.

• Cartoon and Animation Studies
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• s.15
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• pp.109-122
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• 2009

Cultural policy, a part of ideological policy has affected remarkable changes in movie and animation. Korean animation was called cartoon movie and popular only among children, but works dealing with anti-communism ideology have been introduced in Korea since before/after 1970s. Animation focusing on ideology is not unique in Korea, but division of two Koreas after Korean War made great influence on social, cultural and educational aspects of the nation. Moreover, modification in movie-related laws and regulations made in 1960s - 1970s affected movie and animation significantly and is a means of strengthening anti-communism. In particular, Director Cheong-gi Kim's released in 1978 is meaningful in that it is the first long piece of animation movie. In this study, I clarify anticommunistic ideology reflected on the anticommunistic animations and the imageable expression of ideology reflected on . Most of all, I emphasize on clarifying how the cultural policies and social & cultural background influence on the advent of anticommunistic animation in 1960${\sim}$1970. Also, to communicate anticommunistic ideology reflected on produced under the social & cultural background, I clarify the expressive characteristic which the image of animation has.

• The Journal of the Korea Contents Association
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• v.14 no.1
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• pp.76-87
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• 2014

Until 2000, there were only eight female directors in Korean film history; however, the number of female directors has increased with the number of new movies made and the entrance of new directors. In 2007, there were about seven new female directors and in 2009, there were released 13 movies directed by female. Even though the number of new movies and new entrants of female directors has augmented, the percentage of movies directed by female directors is about 5% of released Korean movies during the past ten years. Moreover, those female directors who enter the Korean film industry are mostly concentrated in low budget independent films. Yet, female directors have been continuously searching and challenging in order to find a way to communicate with general populations. As a result, recently female directors have been noticed in thriller films. This report will analyze how the thriller films directed by female directors have evolved since 2000 based on the status of female directors in commercial films. The report will analyze two thriller films "Helpless" and "Perfect Number", released in 2012.

• Cartoon and Animation Studies
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• s.43
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• pp.47-75
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• 2016

This study has analyzed the history of the subcontract animation in Korea that began with Golden Bat of TBC Animation Division in 1966 to 1980s and shed the light on the history of subcontract animation that has been processed over 30 years in Korean animation. For this purpose, through the outlined status of subcontract animation, such as, production company, production status, scale of industry and so forth, the status of the OEM industry then has been checked and it links the solidified background of animation into subcontract production industry with the situation in time for analysis. In addition, on the basis of the foregoing, it is intended to broaden the horizon of the history of animation through the analysis on new search for facilitating the creative animation by overcoming the issues and limits generated by the subcontract animation industry. 1970s was the time that the national objective is to advance heavy-chemical industry and export-led economic growth. From the late 1970s, the animation has been spot lighted as the main-stream export industry through the overseas subcontract orders for animation. Expansion of the subcontract animation production has been influenced from the national policies on public culture, dispersion of color TV, facilitation of video production market and other media changes of the time that led the decline of animation audiences in theaters, and another cause would be in lack of platform of broadcasting companies that avoided the independent animation production for its economic theory. The subcontract animation industry may have the positive evaluation in the aspect of expanding the animation environment, such as, structuring of animation infra, development of new human resources and etc. However, the technology-incentive 'production'-oriented advancement has created distorted structure in advancing the professional human resources due to the absence of 'pre-production' of planning and others as well as the insufficient perception on 'post production (post work)', and it was unable to formulate domestic market by re-investing the capital accumulated for OEM industry into the production of creative animation and it has been assessed as negative aspect. Animation is a cultural and spiritual product of a country. Therefore, the systematic support policy for the facilitation of the creative animation, such as, development of professional human resources, creation of outstanding work, formation of market to make the pre-circulation structure and so forth has to be sought. However, animation is an industry, but there is no perception that it is a cultural industry based on the creativeness, not hardware-oriented manufacturing business. Such a lack of recognition, there was no policies to make the market and facilitate the creative animation by the animation of Korea for this period through the long-term plan and investment for independent work production. Such an attempt is newly begun through diverse searches for protection and advancement of creative animation in Korea after 1990s.