• Archives of design research
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• v.15 no.4
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• pp.253-262
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• 2002

Without the involvement of time in animation, it cannot be possible to create movement. Therefore, tine is the important element to create animation. In animation, the expression of the emotion of character is more complicate than the appearance. Time is one of element to use for express of the emotion. It can be divided two types of time as the real time and the animation time broadly. The real time has linear, irreversible and analogue form which is in our daily life. And the animation time has multi-direction, reversible, and digital form which can be detected in the movie. For the animation time, there are many types of time that are the running time, the production time, the subjective time, the objective time, the ambiguous time and the universal time etc. This study is to extend and enrich the express as film language through various types of times in animation. Time is one of important element that can be useful method for expressing many unique scenes in film art as film language.

• Archives of design research
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• v.17 no.4
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• pp.299-306
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• 2004

From oral literature to the online game, the narrative has been extended to be comprehensive of various temporal and meaningful facets. Antagonism between the desire and the obstacle propels the narrative story of the game and film. Essential to the concept of antagonism is the role of an antagonist with power to endanger the protagonist; the strength of that force grabs the spectator's interest. An antagonist becomes the obstacle that guards the distance between a protagonist's desire and ability to attain ti. Although an antagonist is the obstacle to overcome in a story, for ordinary people, the intense rivalry between the pro and antagonist offers an unlimited framework for the discussion of game with film narrative which create an interplay of desire and identification. In this paper, I am going to analyze the diverse aspects of the antagonist in the spectator's fantasy of the visual story such as film and multimedia.

• Archives of Plastic Surgery
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• v.33 no.1
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• pp.131-134
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• 2006

The closed suction drain is commonly inserted after various surgical procedures. It has an important role to prevent possible hematoma or seroma that can cause postoperative wound problems. But there is still no consensus on managing the insertion site of suction drain after operation. Suture-tie fixation of drain to skin and classical Y shape gauze dressing is a usually accepted method, but it has many limitations. We introduce a new approach to the care for the insertion site of suction drain by using occlusive transparent film dressing, $IV3000^{(R)}$(Smith & Nephew, London, UK). By using transparent film, insertion site of drain can be easily checked without removal of dressing. Because it can reduce the tension of suture-tie fixation, it helps to prevent skin injury. Furthermore, occlusive film dressing can block air leakage from insertion site of drain, and the water-proof character of film allows patients to take a shower without dressing change. This new method is more convenient, more efficient, and less harmful to skin than classic one.

• Journal of Korean Society of Archives and Records Management
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• v.5 no.2
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• pp.153-165
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• 2005

China is a country with a long history. Chinese culture dates back thousands of years ago. Thousand years of history left the huge quantity of archival heritage, which consists of the memory of China. From tied knots, tortoise shell, bronze, bamboo to paper, film, CD, the mankind's history is kept and continued through the evolution of the documenting media and documenting methods. In the information era, when we are immersed in the sea of information technologies, archivists, as guards of human's memory, have to look for a balance point between new and old, between unchanged and changed. On one hand, archivists should try their best to protect traditional archives in a usable, authentic way in a long term; on the other hand, they must face the challenges posed by electronic record. The information age is a stage of the social development of mankind, the digitalization of archives is an important progress of human history. The report mainly is composed of three parts of the content: first, introduce the preserving situation of Chinese archival heritage ; focus are put on "China archival heritage program" and the construction of "Special archives repository"; second, the process of digitalization of traditional archives; third, the framework of electronic record standard.

• Archives of design research
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• v.17 no.2
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• pp.451-462
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• 2004

The range of graphic design has expanded very widely as the digital era emerged, and many new areas of film design, including film, DVD, interactive TV, mobile and DMB, began to require the work of designers. This could be considered as an application as well as a case of digital film design as it has more developed new media environment as basis. The change in the expression techniques of film language is inevitable since major consumers of new media are the younger generation. The method of creating and distributing visual communication work is not standing still anymore. It has been diversified through dynamic movements and changes resulting from interaction. The major objective of this study is to find out and suggest the directions that film and digital media graduate school education of future by researching and analyzing how the nature of design, as an academic subject that keeps on changing and developing, is evolving in the new media environment. For this purpose, the methods of appropriate education system in higher design education, which are derived from case studies and previous studies on education system, are evaluated by examining the consumers. This study aims at finding the most effective training method in film and digital media design, and by integrating current design education with digital film design education establish a better fit education system that complies with the demands of today's society. It will suggest how an educational institute should see ahead of the time and provide what the society will demand in the future.

• Journal of Korean Society of Archives and Records Management
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• v.10 no.1
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• pp.77-97
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• 2010

Cultural property means the remains of cultural activities of a race as recognized with significant cultural value that would have significant historic and/or artistic value. This type of cultural property would not be restored once damaged that its preservation and succession would be immensely important. In particular, the intangible cultural property is the 'cultural property without certain shape' that appropriate conservation and facilitation suitable to its characteristics have to be materialized. For this purpose, this study has taken a look of the record status for 16 cities and provinces with the designated intangible cultural properties and presented with the efficient record plan for desirable conservation and succession.

• Journal of Korean Society of Archives and Records Management
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• v.3 no.2
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• pp.143-155
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• 2003

As archives, photograph is the evident records of historical facts and experiences. Thus, it is worth preserving. Unlike other documents silver halide photographic films and prints are quite sensitive to environmental factors such as light, temperature and humidity, which demands careful treatment in preservation. This study was carried out to select popular photographic films and papers on the market, to examine their photographic speeds (or sensitivities) and to compare and analyze their preservative features after keeping them some time in a weather-o-meter. Consequently, B/W materials were superior to color ones in preservation. And films were better than papers in the same manner. But we were not able to observe remarkable differences among material's manufacturers.

• Archives of design research
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• v.16 no.3
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• pp.263-272
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• 2003

Motiongraphics is not short film and has a special communication method characteristic of design. As graphic design needs space-composition, motiongraphics requires time-composition. In the 1920's, artists belonged Bauhaus in Germany tried to realize time-composition in the plans for abstract animation. At that time the russian film director Eisenstein experimented with moving image composit on, creating new meanings through the montage of heterogeneous images. In the digital era of today, motiongraphics is composed of such various elements as moving image, photo, illustration, typography, etc. The editing in montage film is one-dimensional. Meanwhile, motiongraphics of these days consists of a lot of layers, composing various elements by editing. Motiongraphics needs time structure and visual rhythm as well as scenario or storyboard for time composition. The principle of time composition in motiongraphics ist similar to that of musical composition. If we compare the time composition of abstract animation or montage film with the melody in a solo, time composition for motiongraphicf is like a symphony. Various composing elements are developed under different tempos at the same time.

• Archives of design research
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• v.9
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• pp.301-320
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• 1994

Filmff.V. is one of the most poweful media in the modern society. Its influnces on economics, culture, and social behavior are being extened more and more. By the growth of mutimedia market and existing film/T.V. market which are nurtured by the modern technology, filmff.V. culture became a giant influencial element. Filmff.V. culture in Korea did not settle down in right position, because of the uncontrolled implant and imitation of foreign film/T.V. culture under the short time of developing our own film/T.V. culture to support exploding technical aspects. A systematic filmff.V. education and financial investment are needed urgently to produce our own creative film/T.V. programs, and review on our filmff.V. culture and educational system are needed also to make a right understanding of filmff.V. media. In this proposal, I discuss the differences of educational system and curriculum between Korean filmff.V. educational institute and foreign countries'. Through this discussion, I sample a futuce oriented filmff.V. educational system and curriculum.

• Archives of Plastic Surgery
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• v.49 no.4
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• pp.473-478
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• 2022

Background We investigate the effect of involutional blepharoptosis (IB) surgery based on dry eye symptoms by analysis using objective and subjective measures. Methods We recorded various parameters from patients that underwent levator advancement surgery for IB, totaling 125 eyes (total 65 patients, 5 unilateral, 60 bilateral). Subjective assessment comprised a questionnaire on dry eye-related quality of life score (DEQS), a summary score calculated from DEQS, and six-grade evaluation, the patient's own measure of eye comfort. Objective assessment comprised marginal-reflex distance-1 (MRD-1), measurement of tear film breakup time, and superficial keratopathy (SPK) existence by slit lamp microscope. Results Subjective assessments showed that IB patients had improvement of dry eye symptoms and eye comfort when surgery increased MRD-1. On the other hand, objective assessments showed that the presence of SPK is suspected when the postoperative MRD-1 level is 3 mm or higher. Conclusion IB surgery must not only increase MRD-1 value, but also to perform maintenance of the appropriate ocular surface condition. From our parameters, we suggest postoperative MRD-1 value should be maintained at < 3 mm to safe and effective of IB surgery.