• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.185-190
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• 2019

Historically, the representation of the colonial period has responded closely to the policies and political conditions of the time. The Korean blockbuster , which links the genealogy of Manchuria Western, adopts a safe nationalism frame, upgrading the genre's narrative typology to colorful action and spectacle, including the Japanese army, the Liberation Army, the good and evil, and the confusion of identity. On the other hand, , which deals with the friendship of the poet and the warrior, treats the mental and internal struggles implied by the power of poetry, without resorting to familiar nationalism and heroism. is a thorough genre of rules. If the visual and sensual pleasures of imaginative resilience beyond the bounds of the law are provided within the Rules, inevitably seeks resistance within the colonial empire's legal system. Political, diplomatic, and economic conflicts between Japan and Korea, which have been continuing until recently, reaffirm the framework of nationalism on the screen.

• The Journal of the Korea Contents Association
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• v.22 no.2
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• pp.724-733
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• 2022

The purpose of this paper is to explain the recipient's psychology, which results from the operation of media, from the perspective of the fluctuation between immersion and contemplation. Media allow to perceive and speculate about specific objects or meanings. In addition, the media perform the function of expanding or changing the objects of perception and thought. McLuhan or Luhmann's media theory emphasized this function of changing the state of perception by inducing a contemplative attitude. This notion is exemplified by interpretation of the visual media history. In this paper, the cases of film and computer game are discussed. In particular, it is considered that VR media causing strong immersion have also developed in a way that allows recipients to contemplate an virtually constructed reality. The commercialization of Tilt Brush and the experimentation of VR painting artwork are the examples for this dual development.

• Cartoon and Animation Studies
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• s.33
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• pp.31-53
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• 2013

In the early twentieth century, history of animation began by modern artists, they produced various experimental images with the newly invented film and cameras. Artists in the field of movie, photography, paintings and others manipulated images in motion. But as some animated movies won industrial success and popularity, they became the trend but experimental style of early animation preserved by so-called non-mainstreamers or experimental animators, counteracting commercialism. Disney animation also followed the trend by applying realistic Hollywood film style, the worse critics placed a low value on the animation and it tarnished the image, although it was profitable investment from a business standpoint. To make images realistic, they opened a drawing class that animators developed skills to imitate motions and forms from subjects in real life. Also some techniques and gizmos were used to mimic and simulate three dimensional objects and spaces, multiplane camera and compositing 3D CG images with 2D drawings. Moreover, they brought animation stories from fairly tales or folk tales, and Walt's personal interest in live-action movies, they applied Hollywood-film-like narratives and realistic visual, and harsh criticism ensued. On the surface early disney animations' potential seems to be weakened, but in reality it still exists by simplifying and exaggerating forms and color as modern arts. Disney animation employs concepts of the modernism paintings such as simplified shapes and colors to a character design, when their characters are placed together in a scene, that visual elements cause mental reaction. This modification gives a new internal experience to audiences. As conceptual colors in abstract paintings make images appeared to be flat, coloring characters with no shading make them look flat and comparing to them, background images are also appeared to be flat. On top of that, multi-perspective at background images recalls modernist paintings. This essay goes in details with the animation pioneers' works and how Disney animation developed its techniques to emulate real life and analyses color schemes, forms, and spaces in Disney animation compared with modern artists' works, in that the visual language of Disney animation reminds of impression from abstract paintings in the beginning of the twentieth centuries.

• Korean journal of communication and information
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• v.60
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• pp.125-149
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• 2012

This study explores the formational process of KBS PD's professional identity in the 1970's, focusing on everyday work and workplace for program production. In terms of salary and social-cultural status, a television PD was not a desirable occupation in the 70's. Since the beginning of radio broadcasting, production of culture and education programs had been sub-categorized under Programming Division. Also, it has been claimed in several researches that in the 70's, the production of education and cultural programs had visibly grown owing to the political necessity of policy PR and campaigns, and the introduction of new broadcasting equipment and technologies for producing the mentioned political campaign programs. However, this study argues that the main force that led to such developments was the cultural practices and the production spirits of the KBS PD's. These PD's trained themselves in production workplace from the bottom by assisting film directors and learning from cameramen about the film making and post-production process. Moreover, in the transitional phase from film to magnetic tape recorder, they established themselves as main subjectivities of production by developing Division of Culture and Education as a specialized and independent sector. The "program production spirit and DNA" that evolved from the experiences of working in poor production environment served as a force for developing professional and self identity. However, the culture and education PD's of the 70's were still tied down to the limited roles of simply providing technological and productional 'professionalism' within the hegemonic structure of the strong state. As with the members of any other social domain at the time, PD's had restricted roles to play and putting in effort and competing to create better programs was the only 'freedom' that was allowed. This study argues that under such condition, KBS PD's implemented two strategies to construct their own professional identities: one was to distinguish themselves from official broadcasters, and the other was to distinguish themselves from commercial broadcasters. Unfortunately, ethical practice as a professional became nothing more than an issue of personal morality and broadcasting's public responsibility was lost under the shadows of commercial broadcasting.

• Journal of Korean Ophthalmic Optics Society
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• v.19 no.1
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• pp.31-42
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• 2014

Purpose: The present study was conducted to investigate the effect of the physical properties of RGP lens induced by lens polishing on the actual wearer's subjective comfort, the tear film break-up time and the blinking rate as a follow-up study that revealed the relationship between the lens physical properties during lens manufacturing and lens wearer's factors. Methods: RGP lenses made from the three different polishing conditions (25, 50 and 100 seconds) were applied on 28 eyes of 17 subjects, aged 20 to 29 years, without any known disease and surgical history in the eyes. While the subjects were asked to wear the RGP lenses longer than a week, the questionnaire for the comfortability was administered everyday. Subjective and objective tear break-up time and blinking rate of the wearers were further measured. Results: The wearer's subjective comfortability showed some difference in the type of discomfort and satisfaction score according to the polishing status when wearing RGP lenses made from different polishing conditions longer than a week, and a bigger difference in satisfaction score induced by polishing condition was especially shown in experienced RGP lens wearer rather than un-experienced wearer. In the case of RGP lens wearer compared with the ones without the wearing experience, as the wearing time increased subjective and objective tear break-up time were increased and the blinking rate was decreased. However, subjective and objective tear break-up time were tended to decrease with even longer wearing time when wearing the RGP lens made from the polishment for 100 seconds. Conclusions: These results confirmed that the optimization of physical properties of the lens may not give the same effect on the wearer's subjective and objective symptoms and other factors when actual wearing. From the results, it can suggest that the success rate of RGP lens wear may be changed by physiological factors such as the stabilization of wearer's tear film, comfortability and lens wearing experience when wearing RGP lens based on 'The manufacturing standard for soft contact lens/hard contact lens' provided by Korea Food and Drug Administration.

• Tuberculosis and Respiratory Diseases
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• v.44 no.2
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• pp.241-250
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• 1997

Objective : Although the prevalence of pulmonary tuberculosis has decreased progressively after the national control program for tuberculosis began, nowadays the number of MDRTB is increasing seriously. MDRTB tends to be poor responsive to current antituberculosis regimens. It is mainly due to poor compliance, high rate of side reaction of secondary drugs, and limitation in number of available drugs. The purpose of present study is to evaluate the clinical features of pulmonary tuberculosis patients admitted in one national tuberculosis hospital and to expose the problems pertaining to current remedies, to increase the treatment efficacy for pulmonary tuberculosis including MDRTB in the end. Method : Retrospective analysis of 336 pulmonary tuberculosis patients admitted in National Masan Tuberculosis Hospital was done. Contents of analysis were patients profile, the first diagnosed time and medical institutes, family history, residence, previous treatment history, chief complaints at the time of admission, lesion site on chest X -ray film, combined deseases, side reaction to antibuberculosis drugs, used drugs before admission and the results of drug sensitivity test. Results : The ratio between male and female was 4 : 1. Age showed relatively even distribution from 3rd to 6 th decades. 64.6% of the patients was diagnosed at public health center. Weight loss was the most common complaint at admission. Bilateral lesions on chest X-ray films were 59.8%. 130patients had combined desease, of which DM was the most common(37.7%). 95patients had family history, of which parents were the most common(41.7%). According to the time of first diagnosis, 31 patients were diagnosed before 1980, and after then the number of patients was increased by degrees. Residence overwhelmed in pusan and gyung-nam province. 258 patients got previous treatment history, of which 112 patients(43.4%) had more than 3 times and only 133 patients(51.6%)got regular medication. 97 patients used more than other 3 drugs in addition to INH, EMB, RFP and PZA before admission. 154 patients were informed with the results of drug sensitivity test. of which 77 patients had resistance to more than 5 drugs. Gastrointestinal problem was the most common in side reaction to drugs. Conclusion : In the case of weight loss of unknown cause, tuberculosis should be suspected. In first treatment, sufficient and satisfactory explanation for tuberculosis is necessary and treatment period should not be stict to 6 month-short term therapy. In retreatment, new drugs should not be added to used drugs even though drug sensitivity results show sensitivity to some of them. Proper time for surgical intervention should not be delayed.

• Journal of Science of Art and Design
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• v.7
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• pp.64-104
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• 2005

Visual media transmits image and information reproduced in large quantities, such as a photography, film, television, video, advertisement, or computer image. Correspondence to the students' reception and recognition of culture in the future. arrangements for the field of studies of visual culture. 'Visual Culture' implies cultural phenomena of visual images via visual media, which includes not only the categories of traditional arts like a painting, sculpture, print, or design, but the performance arts including a fashion show or parade of carnival, and the mass and electronic media like a photography, film, television, video, advertisement, cartoon, animation, or computer image. In the world of visual media, Image' functions as an essential medium of communication. Therefore, people call the culture of today fra of Image Culture', which has been converted from an alphabet convergence era to an image convergence one. Image, via visual media, has become a dominant means for communication in large part of human life, so we can designate an Image' as a typical aspect of visual culture today. Image, as an essential medium of communication, plays an important role in contemporary society. The one way is the conversion of analogue image like an actual picture, photograph, or film into digital one through the digitalization of digital camera or scanner as 'an analogue/digital commutator'. The other is a way of process with a computer drawing, or modeling of objects. It is appropriate to the production of pictorial and surreal images. Digital images, produced by the other, can be divided into the form of Pixel' and form of Vector'. Vector is a line linking the point of departure to the point of end, which organizes informations. Computer stores each line's standard location and correlative locations to one another Digital image shows for more 'Perfectness' than any other visual media. Digital image has been evolving in the diverse aspects, such as a production of geometrical or organic image compositing, interactive art, multimedia art, or web art, which has been applied a computer as an extended trot of painting. Someone often interprets digitalized copy with endless reproduction of original even as an extension of a print. Visual af is no longer a simple activity of representation by a painter or sculptor, but now is intimately associated with a matter of application of media. There is some problem in images via visual media. First, the image via media doesn't reflect a reality as it is, but reflects an artificial manipulated world, that is, a virtual reality. Second, the introduction of digital effect and the development of image processing technology have enhanced a spectacle of destructive and violent scenes. Third, a child intends to recognize the interactive images of computer game and virtual reality as a reality, or truth. Education needs not only to point out an ill effect of mass media and prevent the younger generation from being damaged by it, but also to offer a knowledge and know-how to cope actively with social, cultural circumstances. Visual media education is one of these essential methods for the contemporary and future human being in the overflowing of image informations. The fosterage of 'Visual Literacy' can be considered as a very purpose of visual media education. This is a way to lead an individual to the discerning, active consumer and producer of visual media in life as far as possible. The elements of 'Visual Literacy' can be divided into a faculty of recognition related to the visual media, a faculty of critical reception, a faculty of appropriate application, a faculty of active work and a faculty of creative modeling, which are promoted at the same time by the education of 'visual literacy'. In conclusion, the education of 'Visual Literacy' guides students to comprehend and discriminate the visual image media carefully, or receive them critically, apply them properly, or produce them creatively and voluntarily. Moreover, it leads to an artistic activity by means of new media. This education can be approached and enhanced by the connection and integration with real life. Visual arts and education of them play an important role in the digital era depended on visual communications via image information. Visual me야a of day functions as an essential element both in daily life and in arts. Students can soundly understand visual phenomena of today by means of visual media, and apply it as an expression tool of life culture as well. A new recognition and valuation visual image and media education is required to cultivate the capability of active, upright dealing with the changes of history of civilization. 1) Visual media education helps to cultivate a sensibility for images, which reacts to and deals with the circumstances. 2) It helps students to comprehend the contemporary arts and culture via new media. 3) It supplies a chance of students' experiencing a visual modeling by means of new media. 4) There are educational opportunities of images with temporality and spaciality, and therefore a discerning person becomes to increase. 5) The modeling activity via new media leads students to be continuously interested in the school and production of plastic arts. 6) It raises the ability of visual communications dealing with image information society. 7) An education of digital image is significant in respect of cultivation of man of talent for the future society of image information as well. To correspond to the changing and developing social, cultural circumstances, and the form and recognition of students' reception of them, visual arts education must arrange the field of studying on a new visual culture. Besides, a program needs to be developed, which is in more systematic and active level in relation to visual media education. Educational contents should be extended to the media for visual images, that is, photography, film, television, video, computer graphic, animation, music video, computer game and multimedia. Every media must be separately approached, because they maintain the modes and peculiarities of their own according to the conveyance form of message. The concrete and systematic method of teaching and the quality of education must be researched and developed, centering around the development of a course of study. Teacher's foundational capability of teaching should be cultivated for the visual media education. In this case, it must be paid attention to the fact that a technological level of media is considered as a secondary. Because school education doesn't intend to train expert and skillful producers, but intends to lay stress on the essential aesthetic one with visual media under the social and cultural context, in respect of a consumer including a man of culture.

• Composites Research
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• v.31 no.2
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• pp.63-68
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• 2018

Thermoplastic composite has been limitedly used in high performance aerospace industry due to relatively low mechanical properties even though it has various advantages. But, thermoplastic aromatic polymer composite has recently been researched and utilized much. In this study, PEEK and PPS neat resin film as representative thermoplastic aromatic polymer were processed through continuous heating, cooling and reheating cycle. Property change such as glass transition temperature and melting temperature were identified and crystallinity variation by different cooling rate were evaluated. In the first (heating) run, polymer specimens were kept for 5 minutes at higher temperature than melting point to remove previous thermal history, and crystallization reaction was controlled by adjusting cooling rate to 2, 5, 10, 20 and $40^{\circ}C/minute$ in the second (cooling) run. In the third (heating) run, specimen crystallinity were verified by measuring the melting enthalpy. The initial specimens containing high portion of amorphous structure exhibited cold crystallization and clear glass transition in the first run whereas they did not show in the third run due to the increase of crystalline structure portion. As cooling rate decreases through the second cooling run, the crystallinity of the specimen increased. PEEK polymer had 21.9~39.3% crystallinity depending on cooling rate change whereas PPS polymer showed 29.1~31.2%.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

• Journal of radiological science and technology
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• v.7 no.1
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• pp.3-11
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• 1984

The major findings of this investigation on radiographic works in 125 medical institutions around Seoul and Kyung-Ki area, from March 1983 to February 1984, are summarized as follows. 1. The number of references provided on radiographic techniques were 3 to 5 in general hospitals (52.1%), in hospitals (58.5%), and clinics (44.5%), and only the 10.4% of general hospitals had 11 or more. 2. The relatively high percentages of 75.0% of general hospitals and 68.3% of hospitals have established the standardized radiographic methods for regions examined, but most clinics (61.1%) have not. 3. As a log system for the radiographic request, the method of "routine study, or all the x-ray examinations are marked as 0 on a printed form" was most commonly used by general hospitals (62.5%) and hospitals (51.2%), and "the doctors employ their own methods" in most clinics (44.6%). 4. In the 85.4% of general hospitals, the 68.3% of hospitals and the 38.9% of clinics, the data such as diagnosis, clinic history, purpose of x-ray examination were recorded on a radiographic request at all times, or at least in part. 5. On a scale of hardness and easiness of order of doctors, the greatest response was "fairly easy to understand", and the 37.5% of general hospitals responded as "sometimes hard". 6. In determining the standards for radiographic factors, the general hospitals (62.5%) and hospitals (65.9%) adapted mostly "a departmental check list", and the clinics (61.1%) used mainly "a personal decision". 7. In using the immobilizing devices, angligner, and radiographic accessories, the Percentages were high in general hospitals and hospitals on the one hand, and were low in clinics on the other. 8. A consideration with regard to the devices for an improvement of examination of the same patients was totally ignored by the 50.0% of clinics, the 26.8% of hospitals and the 20.8% of general hospitals. 9. The causes of re-examination were due largely to patients (33.6%), and followed proportionately by incorrect exposure (22.8%), errors in positioning (22.0%), film processing faults (9.2%), conditions of x-ray equipments (8.8%), and quality of x-ray films (3.6%). 10. The conference on radiography was conducted regularly or irregularly by the 87.5% of general hospitals, the 56.1% of hospitals, and the 27.7% of clinics, and the meeting was proceeded only by radiologic technologists.