• Title/Summary/Keyword: Joker

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Aesthetic Value Reflected to Digital Virtual 3D Card Game Animation -Focused on the (디지털 가상 3D 카드게임 애니메이션에 반영된 예술적 가치 - 작품 제작 중심으로-)

  • 이선주
    • Proceedings of the Korea Contents Association Conference
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    • 2004.05a
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    • pp.575-578
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    • 2004
  • This paper will intend to find the artistic value of playing card and 3D animation that is having much skill and entertaining points through digital virtual3D card animation . And this paper will consider the popularity and explore the creative cooperation relation of skill and art.

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Analysis of Directing Super Hero Action Thriller (슈퍼 히어로 액션 스릴러 <다크 나이트>의 연출 분석)

  • Lee, Jeong-Gook
    • The Journal of the Korea Contents Association
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    • v.11 no.4
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    • pp.140-154
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    • 2011
  • Through this thesis, I intended to analyze superhero action thriller through that achieved in art and box office after the film release. I would to access about it centering around directing viewpoint. of Christoper Nolan is evaluate as 'upgraded excellent action thriller'that have remarkable theme and excellent visual. Analysis of directing'll classify both contents and form. See about contents... theme of existential dilemma about the good and the evel, characters who is grew more powerful, and deeper than Batman series in old times. the fifth plot, especially dramatic plot by Joker's game, and various irony and motif. About form... efficient use of IMAX camera, prominence of action directing about car chase and fighting... better editing and music and art than former super hero series. The most important merit of is it's a philosophical theme. It is dipicted very seriously and successfully. First of all, the film has more advanced technique power and new directing style.

A Discrete Mathematical Model Applied to Genetic Regulation and Metabolic Networks

  • Asenjo, J.A.;Ramirez, P.;Rapaport, I.;Aracena, J.;Goles, E.;Andrews, B.A.
    • Journal of Microbiology and Biotechnology
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    • v.17 no.3
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    • pp.496-510
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    • 2007
  • This paper describes the use of a discrete mathematical model to represent the basic mechanisms of regulation of the bacteria E. coli in batch fermentation. The specific phenomena studied were the changes in metabolism and genetic regulation when the bacteria use three different carbon substrates (glucose, glycerol, and acetate). The model correctly predicts the behavior of E. coli vis-a-vis substrate mixtures. In a mixture of glucose, glycerol, and acetate, it prefers glucose, then glycerol, and finally acetate. The model included 67 nodes; 28 were genes, 20 enzymes, and 19 regulators/biochemical compounds. The model represents both the genetic regulation and metabolic networks in an integrated form, which is how they function biologically. This is one of the first attempts to include both of these networks in one model. Previously, discrete mathematical models were used only to describe genetic regulation networks. The study of the network dynamics generated 8 $(2^3)$ fixed points, one for each nutrient configuration (substrate mixture) in the medium. The fixed points of the discrete model reflect the phenotypes described. Gene expression and the patterns of the metabolic fluxes generated are described accurately. The activation of the gene regulation network depends basically on the presence of glucose and glycerol. The model predicts the behavior when mixed carbon sources are utilized as well as when there is no carbon source present. Fictitious jokers (Joker1, Joker2, and Repressor SdhC) had to be created to control 12 genes whose regulation mechanism is unknown, since glycerol and glucose do not act directly on the genes. The approach presented in this paper is particularly useful to investigate potential unknown gene regulation mechanisms; such a novel approach can also be used to describe other gene regulation situations such as the comparison between non-recombinant and recombinant yeast strain, producing recombinant proteins, presently under investigation in our group.

A Joker's Image: Humor, Work Impressions, and Culture in Korean Workplaces (유머러스한 기업 구성원: 유머, 문화, 그리고 인상관리)

  • Kim, HeeSun
    • The Journal of the Korea Contents Association
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    • v.20 no.9
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    • pp.397-413
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    • 2020
  • Humor is often considered as a positive phenomenon, and thus frequently employed as an impression management technique for individuals. However, humor may create unexpected outcomes in terms of impression management. This study investigates the relationship between humor and impression management of individuals within three South Korean organizations. A qualitative methodology is employed and data collected through participant observation and semi-structured interviews. Findings suggest that humor may be used more frequently by workers in superior positions, and it may be dangerous for individuals in subordinate positions to initiate humor, as negative impressions such as lack of professionalism and work competence may be crafter through humor. In particular, traditional Confucian values and expectations may lead to perceptions that humor is inappropriate and even rude when it is used by individuals in subordinate positions. However, humor may help to craft an independent identity, and help alter user's impressions as desired. This suggests that while perceptions towards humor as an impression management tool may embed significant risks, humor may help individuals to influence their impressions and diverge from a stereotypical expectations and impressions of workers(according to their hierarchical status), which may be interpreted in multiple ways. This implies that organizations should be careful in encouraging workers to use humor as an impression management tactic, as the relational outcomes may be complex, depending on the cultural understanding of hierarchy and relationships between communicators.

The Historical Transition and Current Meaning of Traditional Language Plays - Focusing on Korean Jaedam and Chinese Xiangsheng - (전통적 언어유희의 역사적 변천과 현재적 의의 - 한국 재담(才談)과 중국 상성(相聲)을 중심으로 -)

  • Jiang, Xiao-Qian
    • (The) Research of the performance art and culture
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    • no.37
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    • pp.61-94
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    • 2018
  • This article examined that the historical changes and current significance of the Jaedam(재담) and the Xiangsheng(相聲), one of the traditional Korean and Chinese language games. Both Korean Jaedam and Chinese Xiangsheng are representative language games and traditional performing arts for laughing. The origin of the Jaedam can be traced back to Uheui(우희). Uheui has been called Changyouxi in China, Bae Woo-hee, and Jo Hee in Korea. Uheui is the most traditional language game and a variety of performances were derived from its spreading and inheriting process. Among them, Korean Jaedam and Chinese Xiangsheng can be said to be a piece of art that has successfully inherited Uheui tradition. From the late 18th century, Korean Jaedam were established as independent performance arts, and became highly active in many performance by professional joker Park Chun-jae and other performers. With the development of gramophone record in the early 20th century, the Jaedam was mainly made on the theater stage and radio. At this time, the new performance art of 'Mandam(만담)' was derived from the Jaedam, which focused more on satire current events and criticizing the social situation. Mandam has been popular for a long time and then extinct in the 21st century. The jaedam have been handed down only in the Korean traditional performance so far. Meanwhile, Chinese Xiangsheng, which was built in the mid-19th century, a bit later than Korean Jaedam, was initially considered to be a vulgar art of the lower class, but finally became popular in the early 20th century. In the mid-20th century, Xiangsheng was transformed into a new character, which mainly deals with social praise and edification of the masses. But since 'New Xiangsheng' does not focous on a satire on social conditions, the humor has been reduced. In the early 21st century, Xiangsheng was on the verge of extinction just like Mandam, but through the efforts of young actors to revive tradition, another reformation of this art was made to return to tradition and small theater. Currently, the 'traditional Xiangsheng', which has returned to tradition, is once again receiving the love and support of the Chinese audience. Korean Jaedam and Chinese Xiangsheng have many similarities in terms of history and recruitment, but they are now in different fates. There is also a great deal in common ground in terms of the content and form of the two arts. In the case of Xiangsheng, it is one of the traditional folk art forms which is still loved by the Chinese people and has become one of the most important traditional performances. On the other hand, in Korea, Jaedam as independent performance arts has disappeared and now only can be seen in traditional performances such as 'Korean mask theater'. The fact that Korean Jaedam and Chinese Xiangsheng have undergone similar changes in their spreading and inheriting process, while Korean Jaedam have disappeared and Chinese Xiangsheng is well preserved. The reason can be confirmed through the main idea of this article.