• Korean Journal of Food Science and Technology
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• v.22 no.4
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• pp.479-485
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• 1990

For the automation of a evaporation process, computer based evaporation system was built and applied to acquisition of the process variables with an centrifugal thin film evaporator(Centri-Therm, CT-1B). Controls of the process conditions were performed by computer system for pressure, feeding rate, steam, evaporation temperature and flow rate of cooling water. The data acquisitions were also performed by computer system for the changes in the concentration and temperature readings for steam, evaporation and cooling water at the both inlet and outlet. The control and the acquisition variables were collected through the interface device and analyzed by programs using the PASCAL language. To control the feeding rate during the concentration process, inverter was used. The cooling water for the vapor condensation was controlled by the valve controller and should be supplied with the flow rate of 125 kg/h. The maximum vapor condensation rate was 41.7kg/h at the feeding rate of 125 kg/h.

• Journal of Digital Contents Society
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• v.8 no.4
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• pp.563-571
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• 2007

The meaning of 'Metamorphosis' is transformation or disguise. It also means the process of modification from 'Image A' to 'Image B'. 'Metamorphosis' which has derived from many race's myth shows the various field of 'Literature', 'Music' and 'Art'. Through the development of cinematography, the still image in 'Film' and 'Animation' could be combined with time and the process of 'Metamorphosis' has been observed. Specially individual and fantastic forms in animation have created by many animators, because every factor of individual image in animation could be transformed and modified. And 'Metamorphosis' shows the sector of metaphor which is based on narration and the functional scene conversion in animation. 'Metamorphosis' which includes magical and fantastic character also provides the hilarious effect and the special film language to us.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.277-299
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• 2010

This study explores Witi Ihimaera's The Whale Rider (1987) from ecological and postcolonial perspectives. Ihimaera is one of the prominent Maori writers who have critically voiced their concerns about the fragmentation of Maori tradition and the alienation of an environmentally friendly culture in New Zealand. Throughout the novel The Whale Rider, with his mythic imagination and cultural sensitivity, Ihimaera raises ecological awareness in terms of environmental justice and promotes critical consciousness regarding sociocultural and histo-political realities of the Maori people as alienated others in their ancestors' land. Revolving around the developmental process of a young Maori girl named after a mythical Maori ancestor Kahutia Te Rangi also known as the Whale Rider to inherit the Maori leadership, the novel describes the historical, cultural, emotional landscape of the Maori community in the white-centered society of New Zealand. In particular, this paper analyzes the leaving and homing process of narrator Rawiri which is deeply embedded in Maori myth and philosophy toward an eco-friendly culture and postcolonial reality. Indeed, Ihimaera skillfully juxtaposes young man Rawiri's experience outside the Maori community and young girl Kahu's life at the Maori home. In the end, while Kahu achieves her destiny in a mythical way to foster a new vision of harmonious co-existence that is rooted in Maori heritage and compatible with Western culture, Rawiri comes to understand the interrelatedness of all existence and embraces both the rational knowledge of scientific empiricism and the traditional knowledge of spiritual experiences. The novel The Whale Rider was also turned into a film by New Zealand's most influential female film director Niki Caro in 2002, and the film Whale Rider received international acclaim.

• Journal of the Korean Geographical Society
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• v.49 no.1
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• pp.77-90
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• 2014

The purpose of this study is to examine cinematic representations of places in the Korean War films on the event of 1950 'Incheon Landing', focusing on the place representations. 'Incheon Landing' of September 1950 provided a turning point for the Korean War, and the event can be interpreted totally different from the South Korean and the North Korean perspectives. Two films on the same event of the 'Incheon Landing' - a South Korean film, "Incheon Landing Operation"(1965), and a North Korea film, "Wolmido"(1982)- were selected as major sources of analysis and comparison. each director has different intentions. One film was taken from the landing army's viewpoint, whereas the other film was taken from the defender's viewpoint. As a result, one film emphasized the battle as a spectacle of glorious victory from the landing army's viewpoint, while the other film glorified those soldiers killed in the battle as heroes from the defender's viewpoint.

• The Journal of the Korea Contents Association
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• v.11 no.2
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• pp.195-203
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• 2011

This case study is based on a fundamental class actually done in the film and video department in Sungkyul University. It aimed at suggesting supportive role for typical film production class in universities in Korea. The list of film styles mentioned in this text is selected from the actual ones for the class and it is focused on utilization of sound and camera. It is ultimately designed to guide students to actual making films. First of all, for example, with a humble camcoder, students are encouraged to record both image and his/her narration which is directly recorded into the built-in microphone. Also directional microphone could be used to experience various positions of 'point-of-hearing'. Regarding camera movements, only distinctive ones out of typical utilization are selected to be dealt with. The movements created by moving vehicle such as dolly or crane beyond the limit of human ability could bring up high imagination of students on movement, besides this could be also easily applied to them for using hand-held technique instead of vehicle. This attitude acquired through the course is important for gettig over the resistance they might have before actual experiencing machinary use in production.

• Journal of Korea Entertainment Industry Association
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• v.15 no.3
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• pp.65-73
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• 2021

This research analyzes the characteristics of Chinese tragic films with Chinese traditional ethical ideology as the core, analyzes its specific performance in the plot and ending setting of the film , and analyzes the director's tragic narrative strategy of cultural reconciliation in the face of political environment to understand the characteristics of Chinese contemporary tragic films.The film is a Chinese contemporary tragic film with The Great Cultural Revolution as its historical background. This film is a representative film of Chinese contemporary tragic films. The classic plot has played a certain role in the expression of Chinese traditional ethical ideology such as fatalism and optimistic attitude to life. The male lead's thought changes interpret the Chinese-style tragedy characteristics containing Chinese traditional ethical ideology. In the setting of the ending, the film broke through the "happy ending" model of Chinese traditional tragedies, and chose the open ending of "one tragedy to the end", further showing the time feature of Chinese contemporary tragic film. The euphemism and tenderness of the film as a tragic film is not only due to the compromise with the political culture of power, but also the result of the director's in-depth understanding of the aesthetics of Chinese tragedy. Through the use of symbolic signs in the film language, it has formed the implicit characteristics of the film narrative in the tragic aesthetic experience. In this paper, the author conducts text analysis for the film and discusses presentation of Director Yimou Zhang's tragic feelings and using the tragic narrative strategy of cultural reconciliation to show his creative wisdom in pursuing artistic breakthroughs under political pressure.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.14 no.1
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• pp.59-66
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• 2000

As the highly complex and precise control functions are required in modern industrial process control system, the complex function models and developed in each hardware and software of PLC. The SFC graphical language is very powerful for describing the sequential logic control algorithm, on the other hand it graphical language is very powerful for describing the sequential logic control algorithm, on the other hand it has problems in describing the interlock logic control algorithm, such as error management algorithm. In this paper, we propose the efficient error management method using the action qualifiers to design the error management algorithm in industrial process control system described scheme, we realize the error management logic in process control system of film coating machine.From the experiment results, we confirm that the proposed scheme is very useful in aspects to realize easily th error management logic and to reduce the memory capacity for user's program.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 1997.04a
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• pp.724-728
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• 1997

A CAD system of grid element for vacuum fluorescent disply has been developed. In order to reduce design man-houre and human erros, it is used to automate the design process using a knowledge base system. In the case of VFD product design, the most important consideration is the short-life cycle. So the development of CAD system for VFD product is needed. The developed system is based on the knowledge base system which is involved in a lot of expert's technology in the practice field. Using C-language under the HP-UNIX system, CIS customer language of the EXCESS CAD/CAM is used as the overall CAD environment. Results of this system will provide effective aids to the designer in this field

• Journal of English Language & Literature
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• v.54 no.4
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• pp.461-482
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• 2008

The science fiction was established as a typical genre of the American popular culture by the monumental releases of two series: Star Wars and Star Trek. Based on the popular science discourse, these two series have functioned as an ideological apparatus for re-appropriating Frontierism which reflects the essential values of American myth. Arguably, the SF genre owes its success mainly to the increasing popularity of science during the 1960s and 1970s, which was well represented in the space project of NASA. This power of popular science, however, tended to weaken in the 1990s as the public interest in NASA's project gradually decreased. "Deep Space Homer," an episode of The Simpson's fifth season, reflects the changing attitude of the American audience toward the new American hero created in the SF series of popular science in the previous popular culture.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.103-111
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• 2019

Under the background of globalization, the borderless nature of film and television language makes the exchange of film as the carrier become an important part of cultural exchanges in various countries. Therefore, film co-production between China and the United States, China and Japan, China and South Korea and other countries has become an important part of the current Chinese film industry. Among them, China and South Korea are close neighbors, and the exchanges between the two countries' films are also increasing. Korean movies have recovered since the 1990s, and they prospered at the beginning of the 21st century, and have formed a unique influence in the international community, especially in crime, suspense, love and other types of films. The co-production of Chinese and Korean films began to appear in 2000, and the signing of the "China-Korea Co-production Film Agreement" in 2014 prompted the rapid convergence of Chinese and Korean film co-productions. However, the co-productions of China and South Korea did not achieve good expectations in terms of communication effects and market evaluation. This article will use the "cultural discount" theory in cross-cultural communication to analyze the reasons for the cultural discounts produced by Chinese and Korean co-productions and how to avoid this phenomenon to the maximum extent.