• Journal of the Korean Vacuum Society
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• v.6 no.S1
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• pp.23-26
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• 1997

Nanophase titania film was obtained by plasma spraying. The structure of titania film was investigated with transmission electron microscopy (TEM). It was found taht the film was composed of grains with mean particle size of 15nm. The crystal structure of nanophase titania film was found to be anatase phase by electron diffraction.

• The Journal of the Korea Contents Association
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• v.10 no.11
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• pp.136-145
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• 2010

China shows an evident growth in its visual culture in recent years, fueled by its accumulated wealth and the influx of relatively advanced visual culture from Hong Kong. There have been recent attempts to further the economic ties with Taiwan to form a pan-Chinese film market. Considering most Chinese blockbusters are produced by film makers in Hong Kong, it is safe to claim that Chinese films are the extension of Cantonese films. This text examines the past makings of Korean-Cantonese films and their influence. Based on the findings, it explores the necessary efforts on a civil level and the governmental support, required for Korea to make its way into the pan-Chinese film market as an equal participant. Such foundation would protect Korean film market in the midst of fast-changing media scape and serve as a stepping stone for Korea's advance into the pan-Chinese visual market.

• Journal of the Korean Society of Food Culture
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• v.31 no.6
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• pp.634-642
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• 2016

Chinese cabbage is produced and consumed as a main material for kimchi and as a staple vegetable in Korea throughout the year. However, due to environmental changes unbalance between supply and demand is repeated annually, requiring development of long-term storage technologies. Chinese cabbages, were harvested, put in plastic boxes, and precooled at $2^{\circ}C$ for 24 hours using forced air precooler. After precooling, Chinese cabbages were MAP-treated with 0.02 mm HDPE film and functional film and stored at low temperature ($1{\pm}0.5^{\circ}C$). The weight-loss rates after 9-weeks of storage were 8.47% in the control group, 4.07% in the HDPE film-treated group, and 3.07% in the functional film-treated group, respectively, suppressing weight loss. Trimming loss rate after 6-weeks of storage was 6.86% in the functional film MAP-treated group and lower than 7.50% in the control group. In the sensory test with 7 points as the limit of commodity, the control group lost it after 6-weeks of storage while the MAP-treated groups retained over 7 points. The functional film MAP-treated group showed over 6 points for processing as kimchi until 9-weeks of storage, proving that Pallet-type MAP storage is effective for extending storage life of spring Chinese cabbage.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.103-111
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• 2019

Under the background of globalization, the borderless nature of film and television language makes the exchange of film as the carrier become an important part of cultural exchanges in various countries. Therefore, film co-production between China and the United States, China and Japan, China and South Korea and other countries has become an important part of the current Chinese film industry. Among them, China and South Korea are close neighbors, and the exchanges between the two countries' films are also increasing. Korean movies have recovered since the 1990s, and they prospered at the beginning of the 21st century, and have formed a unique influence in the international community, especially in crime, suspense, love and other types of films. The co-production of Chinese and Korean films began to appear in 2000, and the signing of the "China-Korea Co-production Film Agreement" in 2014 prompted the rapid convergence of Chinese and Korean film co-productions. However, the co-productions of China and South Korea did not achieve good expectations in terms of communication effects and market evaluation. This article will use the "cultural discount" theory in cross-cultural communication to analyze the reasons for the cultural discounts produced by Chinese and Korean co-productions and how to avoid this phenomenon to the maximum extent.

• Journal of the Korean Vacuum Society
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• v.4 no.S2
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• pp.8-19
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• 1995

Ion beam enhanced deopsition(IBED) was adopted to synthesize biocompatible titanium oxide film. Structure characteristics of titanium oxide film were investigated by RBS, AES and XRD. The blood compatibility of the titanium oxide film was studied by measurements of blood clotting time and platelet adhesion. The results show that the anticoagulation property of titanium oxide film is improved significantly. The mechanism of anticoagulation of the titanium oxide film was discussed.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.131-138
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• 2019

The film enters the color film from black and white, and the screen image changes qualitatively. The color in the film not only has the reproduction function of the restoration object like the objective appearance, but also has the function of conveying different subjective emotions. It can express the color and can't express it. The artistic effect conveys the information content that the story itself can't convey, so the color of the film becomes an important part of the film language. The color in the film is presented on the screen in the form of single-screen color, scene color, full-color color tone, and various color chains designed according to different contradictions and conflicts. Because the film art and art means are assembled by montage, he colors in the picture also form a montage form. People call it "color montage". People's subjective nature of color criticism and acceptance of color language also depend on various local tones. The accurate expression of the relationship, the unique attribute of color determines that the color must enter the structural state in order to express its unique charm. The color of the film only has the real aesthetic value when it enters the level of "color structure". This paper studies the color of Chinese and Western films from the differences between the color thinking of Chinese and Western film directors and the cultural implication of Chinese and Western film colors. The western film director emphasizes the structure of color and pays attention to the use of tonal montage to convey the characters. Emotions reflect the characteristics of a subjective color. Beginning with the "fifth-generation" director of Chinese film, the new journey of film color language has been opened. In the process of blending love and scenery, the film style of "image-in-one" has been achieved.

• Cartoon and Animation Studies
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• s.29
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• pp.61-75
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• 2012

The essay explores the narrative structure of the classical Chinese feature animation, (a.k.a. Da Nao Tian Gong, 1964). The film is presented with a modular structure which is quite unique compared with the storytelling in feature animated films from other cultures, but could be connected with the tradition narrative structure in Chinese Zhanghui style novels in Ming and Qing Dynasty. By relating the original text of the story, the 16th century novel Journey to the West (a.k.a. Xi You Ji), with the film , the essay addresses the question of how the narrative tradition in Chinese classical literature influenced the Uproar in Heave for its segment narrative structure, character driven storytelling strategy and mirrored repetitive 2 plot lines. The subject of this essay is even more significant after the restored 3D version of was re-released in the spring of 2012 and became one of the best-selling animated feature film in the history of the country.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.339-347
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• 2019

This is a comparative cultural study on the cultural dimensions of the Korean original film and its Chinese remake film. This research is based on the cultural dimension study by Dutch organizing psychologist Geert Hofstede (1991). In this research I have tried to compare cultural dimensions that are shown implicitly in the original Korean film of "Blind" and its Chinese remake, entitled "The Witness", in terms of the narrative structures.

• Design Convergence Study
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• v.14 no.4
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• pp.193-208
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• 2015

This study is to search a meaning of treagedy to show by the 6th generation through charecter's tragedy in the 6'th Generation Chinese film. For this, it examined an inner characteristic behind of the tragedy's moment and externalized ending in directors' films of the 6'th Generation's representation. The 6'th Generation of Chinese film reorganized newly Chinese film's cultural topography in the 1990s. The 6'th Generation films, which rebelled against the primary melody and the 5'th Generation on the system, is expressed commonly a tragedy moment with the time and space by character's tragedy. Characters of the 6'th Generation in the tragedy moment attempts various efforts to escape from the tragedy moment. However, no one can overcome the wall of reality, and their concealed emotion as keeping it out of the public eye lead that play. The moment that the 6th generation film meets a tragedy, the main character's accumulated tragedy situations begin to unfold all together. A tragedy embodied through : a collapsed tragedy due to the past's wound, a tragedy due to loss of jobs, a tragedy due to a family's departure, a tragedy from a time of chaos, a tragedy of a woman who became a head of a household and other tragedies.

• Food Science and Biotechnology
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• v.15 no.5
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• pp.683-687
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• 2006

The respiration rate of Chinese quince was measured at 0, 5, 10, and $20^{\circ}C$ to determine its tolerable range of storage temperatures. Based on the measured respiration rates, plastic films covering a wide range of gas permeabilities were used for packaging and storing individual Chinese quince at 0 and $10^{\circ}C$. Chinese quince can be categorized as low respiration fruit. Higher respiratory quotients were observed at higher temperature suggesting that the tolerable temperature range for storage is $0-10^{\circ}C$. Packages containing Chinese quince wrapped in highly gas-permeable polyolefin film PD 941 attained, with progressive decreases in volume, 9.5-10.2% $O_2$ and 1.3-1.8% $CO_2$ at $0^{\circ}C$, 8.1% $O_2$ and 2.4% $CO_2$ at $10^{\circ}C$. At these levels, PD 941 could preserve the fruit at acceptable quality levels for 152 and 50 days at 0 and $10^{\circ}C$, respectively. Less gas-permeable packages built up high $CO_2$ concentrations (above 15.8%) and low $O_2$ concentrations (less than 1.8%) causing free volume expansion and eventual dark discoloration of the fruit. The storage life realized by packaging with polyolefin film PD 941 could facilitate the availability of Chinese quinces in winter and spring for medicinal or ornamental purposes in the fresh state.