• International Journal of Advanced Culture Technology
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• v.7 no.2
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• pp.113-124
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• 2019

Stanley Kubrick's 1968 film titled 2001: A Space Odyssey has generally been considered as a monumental piece of mainstream epic science-fiction. However, this film can be evaluated as having properties of experimental cinema by boldly trying technical innovation and aesthetic experiment in various aspects. From the filmmaker's process to filmic structure, technical innovations, screening method, $mise-en-sc\grave{e}ne$, cinematic style and its (auto-)reflexivity, 2001: A Space Odyssey is highly experimental. We will attempt to separate out aspects of 2001: A Space Odyssey that derive explicitly from traditions in experimental cinema, whether adopting those traditions or innovating within them, by identifying the film's experimental strategies and relating them to other experimental films that came before and after. This will show that the purely formal characteristics of the film's conception carry meanings on their own relating to Kubrick's personal expression, ideas about cinema and philosophy that go beyond the scope of the film's narrative.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2004.05a
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• pp.60-65
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• 2004

This dissertation is focalized on examining research on the actual condition and problem in the exit-space-form of Multiplex Cinema and mutual relation of user and finding more efficient and reasonable project method through valuation of design elements which the user can feel. In result, 4 place which is newly opened after 1990's is analyzed in Seoul. It is researched that Many user feel inconvenience and discomfort when they recognize exit-space. In order to improve itthey want to feel at ease naturally with light-embeded sign and landscape space. The exit-space should be recognized that it is a part of cinema which have to be developed and planed for the inner part of cinema and security of user. Not death-space.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.69-79
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• 2019

The purpose of this study is to analyze how Andong Joongang Cinema (hereinafter referred to as "The Cinema"), the only art cinema in Gyeongsangbuk-do Province, is perceived by local people as a local cultural resource. For this, an analysis framework was set for analyzing local people's perception of The Cinema as a local cultural resource, by analyzing the functions of local cultural resources and the function of The Cinema and examining the correlation between the two sectors, on the basis of precedent studies on local cultural resources and related papers on art theaters and The Cinema. Based on the proposed analysis framework, the local people's perceptions of The Cinema as a local cultural resource were summarized into four divisions: the perception of the enjoyment of culture & art, the perception of historicity, the perception of a tourist attraction, and the perception of community formation. As a result, it is judged that The Cinema has the identity, the traditionality and the community spirit as the three functions of which a local cultural resource has, and thus, it is proved that The Cinema functions as a local cultural resource. Therefore, local cultural resources have been performing their functions encompassing its scope with the region's history and surrounding environment, not standing alone. The Cinema also has been functioning as a space for the enjoyment of culture and art, a tourist attraction, and a cultural space for communicating with the public, keeping its historicity of the region. It is expected that there will be specific follow-up studies so that The Cinema can consistently play its role as a local cultural resource.

• Journal of Astronomy and Space Sciences
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• v.30 no.4
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• pp.335-344
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• 2013

TRiplet Ionospheric Observatory-CubeSat for Ion, Neutron, Electron & MAgnetic fields (TRIO-CINEMA) is a CubeSat with 3.14 kg in weight and 3-U ($10{\times}10{\times}30$ cm) in size, jointly developed by Kyung Hee University and UC Berkeley to measure magnetic fields of near Earth space and detect plasma particles. When a satellite is launched into orbit, it encounters ultra-high vacuum and extreme temperature. To verify the operation and survivability of the satellite in such an extreme space environment, experimental tests are conducted on the ground using thermal vacuum chamber. This paper describes the temperature control device and monitoring system suitable for CubeSat test environment using the thermal vacuum chamber of the School of Space Research, Kyung Hee University. To build the chamber, we use a general purpose thermal analysis program and NX 6.0 TMG program. We carry out thermal vacuum tests on the two flight models developed by Kyung Hee University based on the thermal model of the TRIO-CINEMA satellite. It is expected from this experiment that proper operation of the satellite in the space environment will be achieved.

• The Bulletin of The Korean Astronomical Society
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• v.37 no.2
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• pp.230.2-230.2
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• 2012

경희대학교에서 제작중인 초소형 위성 TRIO-CINEMA (TRiplet Ionosphere Observatory-Cubesat for Ion, Neutral, Electron and MAgnetic fields)에 탑재될 입자검출기 STEIN (SupraThermal Electron, Ion, Neutral)은 정전 편향기를 이용하여 4~300keV의 대전입자 혹은 중성입자들을 분리하여 검출하도록 이루어져있다. CINEMA 운용 궤도에서는 STEIN 정전 편향기를 통하지 않고 검출기 내부로 들어오는 입자들로부터 생기는 배경계수가 포함되어 검출될 것으로 예상되므로 STEIN 검출기의 결과값의 신뢰성을 높이기 위해 배경계수값을 예측할 필요성이 있다. 본 연구에서는 SPENVIS (The Space Environment Information System)를 통해 CINEMA 운용 궤도에 존재하는 입자들의 유량을 계산하였고 GEANT4 (GEometry ANd Tracking)를 통해 CINEMA 운용 궤도상의 STEIN의 외부 환경을 모사하여 배경계수값을 예측하였다. 향후 STEIN의 측정값에 배경계수값을 차감한다면 측정값의 신뢰성이 높아질 것으로 기대된다.

• Journal of Korea Multimedia Society
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• v.25 no.2
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• pp.411-420
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• 2022

Entering the digital cinema era, movies and games are remediating each other. The shots of digital movies are being transformed into realistic content through digital Moving long-take shots that transcend time and space and move smoothly. At this time, the digital Moving long take shot that continuously captures the space in all directions without an external screen induces a game experience. In addition, the camera that constantly accompanies the person enhances the sense of immersion in the game in a way similar to the point of view of the game. While various immersive device contents represented by VR, AR and XR are emerging, the advent of <1917> suggests significant implications for post-cinema in that it creates a game experience while maintaining the traditional screen environment and cinematic paradigm.

• Journal of Astronomy and Space Sciences
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• v.29 no.1
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• pp.23-31
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• 2012

Thermal analysis and control design are prerequisite essential to design the satellite. In the space environment, it makes satellite survive from extreme hot and cold conditions. In recent years CubeSat mission is developed for many kinds of purpose. Triplet Ionospheric Observatory (TRIO)-CubeSat for Ion, Neutral, Electron, MAgnetic fields (CINEMA) is required to weigh less than 3 kg and operate on minimal 3 W power. In this paper we describe the thermal analysis and control design for TRIO-CINEMA mission. For this thermal analysis, we made a thermal model of the CubeSat with finite element method and NX6.0 TMG software is used to simulate this analysis model. Based on this result, passive thermal control method has been applied to thermal design of CINEMA. In order to get the better conduction between solar panel and chassis, we choose aluminum 6061-T6 for the material property of standoff. We can increase the average temperature of top and bottom solar panels from $-70^{\circ}C$ to $-40^{\circ}C $ and decrease the average temperature of the magnetometer from $+93^{\circ}C$ to $-4^{\circ}C$ using black paint on the surface of the chassis, inside of top & bottom solar panels, and magnetometer.

• Korean Institute of Interior Design Journal
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• no.29
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• pp.203-210
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• 2001

Major companies have launched into the film industry since 1990s, which resulted in competition in facilities. In addition, restriction for the number of the prints was removed. Under these circumstances, the cinema has been transformed and developed from the established one-hall cinema into multiplex cinema with large-scaled halls. Contrary to the established cinema, modern cinema are a cultural place within easy access. They accommodate diverse social and cultural needs and their functions have been extending gradually. The waiting areas should not function only as the waiting space for the audience but also the places to attract the audience and provide them with various cultural and art information, and temporary restful break. For this study, the inter-relationship between the structure of the area and the audience are identified objectively by analyzing audience distribution and their routes within the area. The purpose of the study is to provide basic data about the design of the waiting area based on the findings above.

• Journal of Korean Association for Spatial Structures
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• v.11 no.3
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• pp.105-113
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• 2011

The purpose of this paper is to provide a suggestion regarding how to make systematically improve the evacuation facilities of the cinema which is a large indoor space and utilizing by a numerous people. For the first, as a method of study, an analyzed on researching documentary recorders which are concerned with building codes regarding the evacuation facilities of cinema is made, and Secondary, carried out a survey of questionnaire for finding what the most audiences' idea regarding evacuation facilities of the cinema while they are utilizing the facilities, and analyzed the information. In the focus of the users, the result of analyzation reveals that as the item of practical facilities such as width and number of exit ways from viewer seats, width of corridors are highly suggested to improve practical system.

• Journal of Korea Multimedia Society
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• v.21 no.8
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• pp.991-1001
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• 2018

In the context of the 4th Industrial Revolution, IoT, Big Data, and VR are rapidly emerging as core sectors of future industries. In particular, the VR has been under the limelight as a new media content appealing to new generation. And the VR user is not merely a 'spectator', but the 'actor'. In other words, the newness of VR is not in the 'more likely representation of the virtual reality', but in the 'making it act more virtual (more technically, 'interactive')' in the virtual world. In this paper, we examine the VR cinema in terms of film composition unit, montage, cinematic space, mise-en-$sc{\grave{e}}ne$ and perspective. The VR cinema, which is in the early stage of evolution, is basically based on $360^{\circ}$ image that strengthens the autonomy of the audience's point of view, but other factors like haptic or sonic immersion are becoming increasingly important. In addition, the VR cinema will be combined with AR, MR, SR, and Interactive technologies, and will expand its horizon as it is produced in various forms. Therefore, it is expected that more detailed viewpoint will be applied in the subsequent study on VR cinema.