• 한국보건간호학회:학술대회논문집
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• 1997.12a
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• pp.61-61
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• 1997

• The Korean Publising Journal, Monthly
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• s.168
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• pp.15-15
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• 1995

• Journal of the Korea Academia-Industrial cooperation Society
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• v.21 no.2
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• pp.328-334
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• 2020

In this paper I proved that the intention of the movie is to put the reader at the crossroads of choice, which is still in progress, in this context confirmed that the storytelling is very enlightening and popular. This was demonstrated by the thing of making a story the charactor's Affects process itself in the story and a change in the point of view from witness to participant in the discourse. Jang Hoon seeks to reconstruct the Gwangju Democratic Movement through Kim Man-seop, a character who now lives here with trauma. Faced with a sympathetic message from a common and familiar figure around us, such as a taxi driver, it should be said that the goal was to get the audience to accept past gruesome incidents as part of us. The film uses Affects as a way to make the 1980s "Them" become "we" and replace the 37-year-old incident with our modern story. Soon, the film's intention is to turn Gwangju's Democratic movement from "There, Their Story" to "Here, Our Story." That's why popular storytelling was needed and concluded that it was the popularity the film acquired.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.157-167
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• 2019

The actor Song Gang Ho who appeared in the late 1990s, expanded the personality of his characters on his own way by using his unique characteristics (way of talking and appearance) as a nuance of diverse characters, while playing the wide range of roles from the petite bourgeoisie to kings in various genres. Especially in films such as , which are based on real incidents and real people, Gang Ho Song's character embodies Korean history and cultural identity. Not only his serious, but light and seemingly uncalculated realistic acting style harmonizes with his character and reveals the sense of humanity creating a new genre called "Gang Ho Song's character", but also Gang Ho Song is solidifying his base and range as an actor. Therefore, this research aims to analyze his character and acting through the film while concentrating on his realistic expression and creativity based on Barry King's concept of authorship. First, the research will analyze the features of the historical and cultural identity of Song Gang Ho's character which reenacts the real people and incidents as well as analyzing his realistic acting and improvisation of his acting which adds vibrancy to his character. While looking at Song Gang Ho's acting as a self-reflective acting, he enhances the character's reality by creating the character's personality using his own physical features and this research will analyze how Song Gang Ho's self-reflectiveness harmonizes with the character's features which are expressed realistically in the film and how his character and acting creates a continuum.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.95-102
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• 2019

This paper mainly studies two films created by Huo Jianqi, Nuan and Postman in the Mountains, and analyzes the aesthetic style of Huo Jianqi's local movies in three parts. The first part deals with the characteristics of Huo Jianqi's local movies and discusses the theme selection, theme performance, character creation and emotional expression of the film. The second part elaborates Huo Jianqi's film and television works from three aspects: picture language, voice language and color language, which further reflects Huo Jianqi's aesthetic style. The third part analyses the puzzlement in the development of local films and how to develop them. With its unique oriental aesthetics, unique perspectives, unique rural scenery and characteristics, Chinese local movies have become the most representative of the overall level and style of Chinese movies. Chinese local film is the reflection and care of Chinese local culture, showing strong regional local culture, regionality is its distinct feature. Since the reform and opening up, with the changes of the times and the renewal of film directors, local films have shown distinct characteristics of the times. Through the analysis of Huo Jianqi's aesthetic style of local movies, this paper hopes to provide some valuable reference and inspiration for the development of Chinese local movies.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• Journal of Korean Society of Transportation
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• v.23 no.6 s.84
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• pp.91-102
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• 2005

When it comes to the process of information storage, people are likely to organize individual information into the forms of groups rather than independent attributes, and put them together in their brains. Likewise, in case of finding the shortest path, this study suggests that a Hierarchical Road Network(HRN) model should be selected to browse the most desirable route, since the HRN model takes the process mentioned above into account. Moreover, most of drivers make a decision to select a route from origin to destination by road hierarchy. It says that the drivers feel difference between the link travel tine which was measured by driving and the theoretical link travel time. There is a different solution which has predicted the link travel time to solve this problem. By using this solution, the link travel time is predicted based on link conditions from time to time. The predicated link travel time is used to search the shortest path. Stochastic Process model uses the historical patterns of travel time conditions on links. The HRN model has compared favorably with the conventional shortest path finding model in tern of calculated speeds. Even more, the result of the shortest path using the HRN model has more similar to the survey results which was conducted to the taxi drivers. Taxi drivers have a strong knowledge of road conditions on the road networks and they are more likely to select a shortest path according to the real common sense.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.187-198
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• 2020

With the cultural background of whiteness I did examine the universal meaning of absolute good, the special of psychosis, and the fantastic of femininity and memory/record. As an example I analyzed the symbolic meaning of white used in Korean films. Unconditional goodness, white as a generality: White color in all the films of good-evil confrontation falls into this category. The most obvious and the simplest configuration are the black-white dichotomy. In Nameless Gangster: Rules of Time(2011), The Merciless(2016), Asura: The City of Madness(2016) and The Bad Guys: Reign of Chaos(2019), white is the absolute good but it is not limited to a fair key figure. Paradoxically, black is not given only to the side of absolute evil. White is used to be a flexible visual device that reflects the socio-political situation without changing the meaning of the general good. Psychosis and pills, white as a peculiarity: The visual function that emphasizes sado-masochism in the absolute good and the universal symbol of white extends to psychotic specificities such as hysteria. In all the films creating horror, white symbolizes the mentally disabled and the pill for healing. Femininity and haunted white: White of absolute good is expressed by the socio-cultural tendency of femininity and the black-white contrast of vision is applied to the gender difference. In general the women's sexuality is emphasized in color red, but white is arranged in the background. In TaeGukGi: Brotherhood Of War(2004), 71: Into The Fire(2010), My Way(2011), The Front Line(2011), Roaring Currents(2014), Northern Limit Line(2015), The Battle: Roar to Victory(2019) and Battle of Jangsari(2019), white given to female figures sticks to the traditional femininity such as motherhood, sacrifice and weakness. The concept of specters is applied to desires, memories/records, history, fantasy, virtual/reality and social media images. The film history capturing to list memories and moments brings up the specters of socio-political genealogy. Most of films aiming for socio-political change are its examples and white constituting Mise-en-scene records to remember a historical event in Peppermint Candy(2000), The Attorney(2013) and A Taxi Driver(2017).

• Journal of Popular Narrative
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• v.25 no.4
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• pp.159-190
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• 2019

This paper aims to examine to the political unconsciousness of social movies that have caused social repercussions in the 2010s, and to study the social imagination of Korean films at that time. Korean Movies such as (2013), <1987>(2017) and (2017) reflect the ethos of civil society based on common sense and justice. The epic structure was the same as that of ordinary citizens, who move toward a public space (court, square) after awakening their political correctness. More than anything else, the fact that such films were based on "a historical fact" could have been a strategy to avoid censorship in the era of the blacklist. In these social films, courts and squares have become places for democracy. The conservative government of the time was tired of anti-government resistance and the politics of the square. Thus, films from directors and producers blacklisted were difficult to produce. That's why the court in the movie during this period could become a symbolic proxy for the "legitimate" reenactment of the politics of the square, which was subject to censorship and avoidance by the regime of the time. Meanwhile, the square has gradually become the main venue for political films that advocate "historic true stories." The square of the 1980s, which appeared in the movies, will be connected to the Gwanghwamun candlelight square that audiences experienced in 2017. Furthermore, it was able to reach the concept of an abstract square as an "open space for democracy." At the foundation of these works is a psychological framework that equates the trauma of the failed democratic movement of the 1980s to the trauma of the failed progressive movement of the 2010s. Through this study, we were able to see that social political films in the 2010s were quite successful, emphasizing "political correctness" and constitutional common sense. But they also had limitations as "de-political popular films" that failed to show imagination beyond the censorship of the blacklist era.