• The Research Journal of the Costume Culture
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• v.20 no.1
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• pp.18-35
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• 2012

The purpose of this study is to offer a holistic description of the role demanded of costume designers to provide qualitative improvement of costume designs for small- and medium-sized musicals. The study accomplishes this by analyzing the relationship between the play and costume design in musicals and also by examining the process and environments in which costumes of small-sized theater companies' original musicals are produced. The methods of study are empirical research of literature related to dress, stage art, and culture & arts from both domestic and foreign publications; research of visual materials related to plays; and production and analysis of theatrical performances in which the researcher has participated as a costume designer. The results of the study are as follows. First, professionalism of the play and visual perfection of the work may be enhanced by costume designers actively participating in meetings with staff from each field of the play. Second, by taking advantage of the unique aspects of the work environment of small-sized theater companies' small- and medium-sized original musicals, such as harsh situations of regular and periodical meetings with all staff member, the designer may consider the director's intentions and concepts of the play, but should display more creative and autonomous design abilities. Third, because the costume designers of small- and medium-sized original musical plays are given a small budget and short production periods, the ability to systematically manage budget and production periods and the ability to flexibly handle unexpected incidents during the play is essential.

• Journal of Information Technology Applications and Management
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• v.29 no.4
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• pp.51-60
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• 2022

This study was conducted on characters who play the main character of the spin-off work based on the image in the original. Through the analysis of the original and spin-off works, the role type and characteristics according to the characters' roles were analyzed. It was analyzed that Rex, Bo Peep, and Forky, the main characters of the Toy Story spin-off works, had characteristics described in the original, which were not the main characters, and changed when they appeared in the spin-off works. First, it shows a tendency to add a new personality to play the role of the main character who solves problems and leads the story development while maintaining the existing personality characteristics in the original. Second, in order to play the main character in the spin-off work, these main characters are strongly revealed in the characteristics of the faithful type 6, and the achiever type 3, respectively. The reason why the characters' personality in the existing original have continuity is that if the personality of the existing characters change rapidly, they may contradict the audience's existing perception, preventing them from being immersed in the spin-off protagonist itself and the story development. However, the main characteristics of personality type 6 and personality type 3 are described only by considering the character's role as a helper to solve the problem and the characters' characteristics, but in order to solve the problem in spin-off, the animation producers are determined to achieve the goal. An understanding of this result will greatly help animation producers plan the character in consideration.

• The Journal of the Korea Contents Association
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• v.15 no.9
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• pp.47-60
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• 2015

Original play of theatrical troupe Yeonwoo Stage has gone through history represented by (i) the development period of "research on play," (ii) the resistance/growth period of "play movement," (iii) the prime/segmentation period of "metaphor for reality," (iv) the crisis/transition period of "rediscovery of reality," and (v) the challenge/advancement period of the "active development of repertoire." "Collective creation" based on the singe-representative system was a solution to overcome difficult circumstances, crisis facing the theatrical troupe and the lack of resources in the development period and the resistance/growth period, "co-creation" based on the five-representative system, the two-representative system, the system of an operation committee consisting five members, etc. in the prime/segmentation period and the crisis/transition period, and "planning and production" based on the single-producer system in the challenge/advancement period. "Collective creation" system was operated by the entire theatrical troupe, which was led by a director; "co-creation" system was operated by performers, who were directed by a director (-playwriter); and "planning and production" system was operated both internally and externally and was led by a producer. During its long history of developing original play, Yeonwoo Stage has (i) expanded the scope of Korean-style narrative, (ii) succeeded collective creation culture to the next generation, (iii) followed the trend of the times, (iv) attempted to attract popular empathy.

• IEMEK Journal of Embedded Systems and Applications
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• v.8 no.1
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• pp.1-9
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• 2013

Performance of smart phones has increased to conduct simple PC functions that has become essential to modern people. With the development of smart phones, not only limited inner sensors but various sensors can be connected through USB. However, there is problem that app needs to downloaded when using each sensor. In this paper, a smart phone unified app structure for USB sensor Plug&Play is presented. The structure was designed to download web pages to use various sensors in one app. Unified app communicated with the platform through ADK accessory protocol and implements structure of delivering sensor ID to the web server and downloading device driver, web page. By measurement test, it was confirmed that download time of web page in unified app was 10 times faster than original download time of original app. By managing various sensors by one app, the app is searched every time the sensor changes in which there is no need for downloading several apps.

• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.86-99
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• 2009

The audience of the performing arts enacted on the stage appreciate acting of the characters in a play to understand its plot, identify with the characters, and comprehend the message and subject matters of the play. Stage make-up in particular should assist audience in comprehending the story without overpowering or distracting the script. Stage make-up is a crucial means to visualize occupation, class, personality, and age of the characters. Thus it is an essential means in producing a high quality performance. The aim of the study is to examine character-emphasis make-up for a play by reviewing theories on the concepts and methods of the stage make-up. The methodology of the study was to analyze character make-up of the adopted play The Madwoman of Chaillot (La Folle de Chaillot) translated from the original French, as a case study. The technique and features of the character make-up of the play were examined, and functions of each factor of the character make-up depending on a role were also examined. The results of the study are as follows. The stage make-up for creating and expressing a distinctive personality of the characters in a play must integrate environmental factors external to a performance such as lighting and scale of a venue. Moreover the stage make-up must adopt and reconstruct internal factors of the play such as interpretation of the original work, subject matters, interpretation of the script, character analysis based on the discussion with a director, and design setting.

• Architectural research
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• v.14 no.2
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• pp.57-65
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• 2012

This study was focused on the new town residential complex in suburban Hefei, China, which was carried out a survey on the present conditions of children's play space. The residential complexes and play spaces in Hefei, regardless of installation, the standards for the installation of play facilities were not provided legally, and the types of installation of the play facilities also were not standardized. For the play space in residential complexes in China to carry out original functions under the condition and become a place of everybody's activities not just for children, the following should be improved:(1) There is no provision and standard for the size of play space, so the standards for installation of play space with safety like Korea, Japan and the US are necessary. (2) The location of the play space should be able to guarantee maximum play activities to children, and the independence of the space should be secured by putting it in a place far from a footpath or pass way. (3) Since children's play space has different properties from those of green space and resting spaces, separate environmental planning is necessary.

• Korean Journal of Child Studies
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• v.29 no.3
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• pp.303-318
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• 2008

Participants in this study of the validity and reliability of PIPPS (Penn Interactive Peer Play Scale; Fantuzzo et al., 1998) for Korean children were 248 5-to 6-year - old children and 11 teachers. Instruments included the Peer Rating Scale(PRS; Singleton et al., 1979), Social Competence and Behavior Evaluation (SCBE; LaFreniere & Dumas, 1995), and Preschool Behavior Questionnaire (PBQ; Behar & Stringfield, 1974). The structure of PIPPS resulted in 3 factors, 'play disruption', 'play interaction', and 'play disconnection' with 30 items similar to the original PIPPS factors. Validity was evidenced by inter-correlations among sub-factors and by correlations between PIPPS and criterion measures. PIPPS scores were validated by ratings from PRS, SCBE and PBQ sub-areas scores. Cronbach's a reliability of PIPPS factors ranged from .88 to .92.

• The Journal of the Convergence on Culture Technology
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• v.8 no.4
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• pp.193-198
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• 2022

Arthur Miller's play has been reproduced for a long time, and has been made into a film several times. Director Asghar Farhadi made a film set in Iran in the 21st century, showing the film (2017), which excludes "Death" from the original title. is not just a movie of . In , the play is summoned in the form of performing a play. There are many movies in this form, but is an exquisite fabrication so that the reality outside the play and the content in the play harmonize with each other. The play depicts the tragedy of the head of the family who falls at the end of the American dream. The movie transforms this tragedy into a conflict between a young couple living in Iran in the 21st century. In addition, is completed as an independent work that not only rearranged the space and characters of the original work, but also reinterpreted the meaning of death, creating the effect of media conversion such as theater and film.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1211-1234
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• 2010

Mule Bone (1931), Zora Neale Hurston's collaboration with Langston Hughes, has been credited as the 'first' attempted by African Americans to create black folk comedy. The proposed research is driven from a question to the recent scholarship's tacit consent on such historic importance imposed on the play. This paper suggests a possibility that De Turkey and De Law (1930), Hurston's edition of the collaboration work, could be the truly first attempt in the tradition of American black folk comedy. By illuminating a series of historical moments in which Hurston first expressed her dream for writing a real black folk comedy that would be a really new departure in the African American drama, then collaborated with Hughes on the dream play project, and eventually quit the collaborationship due to artistic dispute with Hughes, this paper explains why Hughes edition Mule Bone came to remain 'unfinished' and, more importantly, fall short of Hurston's original goal and expectation from the collaboration. On the other hand, this paper sheds light on the significance of often-ignored Hurston's edition De Turkey and De Law by demonstrating how this play, compared to Mule Bone, fulfills her original idea of black folk comedy in terms of contents and themes compared with Mule Bone. Adding to the knowledge about little known behind story related to the Mule Bone controversy and the subsequent birth of the two different editions of the Hurston-Hushes collaboration project, supplementing the dearth of the related research with a critical comparison of the two editions, and discussing the validity of Hurston's edition as the real sense of black folk comedy, this paper argues for the necessity of reconsidering the origin of the mentioned genre. This paper finally concludes that De Turkey and De Law, replacing Mule Bone, deserves a right to be truly the first American black folk comedy genre in the sense that it was completed and copyrighted three months earlier than Mule Bone and that, more importantly, it cherished the original aim and artistic vision of black folk comedy Hurston first planned and expected through the collaboration with Hughes.

• Proceedings of the IEEK Conference
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• 2001.09a
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• pp.689-692
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• 2001

대용량 hard disk를 내장하고 있는 DTV용 PVR(Personal video recorder)에서는 단순히 수신되는 방송 stream을 녹화하고 재생하는 기능 뿐만 아니라 다른 여러 가지의 부가적인 기능들을 지원하는 것이 필요하다. 그 중의 하나가 기존의 아날로그 VCR의 사용자들에게 친숙한 fast-forward play, reverse play, pause 등과 같은 trick mode play기능을 지원하는 것이다. 그러나 MPEG video는 화면간의 상관관계를 이용하여 압축하는 방식을 채택하고 있으므로 재생하고자 하는 frame이 intra frame이 아닌 한 독립적으로 재생할 수가 없어서 trick mode play 기능을 구현하기가 용이하지 않다. 특히 reverse trick mode의 경우에는 original stream에서의 마지막 frame이 먼저 display되어야 하는데 이를 위해 하나의 GOP가 모두 decoding되어야 하므로 더욱 그 구현이 어렵다. 본 논문에서는 reverse trick mode를 구현하기 위한 여러 알고리즘을 소개하고 이에 대한 system 복잡도, 메모리 사용량 성능 등을 분석하고자 한다.