• Korean Journal of Optics and Photonics
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• v.5 no.1
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• pp.18-24
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• 1994

We have investigated a method to measure the refractive index, coherence length, and the third order nonlinear optical susceptibility ($x^{(3)}$) of the conducting polymer film. ($x^{(3)}$) of polymer film was obtained, by comparing Maker fringe of polymer film with that of fused quartz, and by calculating the correction factor due to the linear refractive index. The linear refractive index of polymer film was determined from the envelopes of the maxima and minima in the transmission spectrum. Poly ((1,4-phenylenevinylene$)_{0.34}$-co-(2-methoxy-1,4-phen ylene vinylene$)_{0.66}$) [PP$V_{0.34}$-PMP$V_{0.66}$] thin film was prepared by spin coating method. From transmission spectrum and Maker fringe data, we found that the refractive index, coherence length, and the third order nonlinear optical susceptibility ($x^{(3)}$) of the [PP$V_{0.34}$-PMP$V_{0.66}$] are 1.786, 17.86 ${\mu}m$ and 5.8${\times}10^{-12}$esu, respectively.

• The monthly packaging world
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• s.355
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• pp.80-83
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• 2022

• Korean Institute of Interior Design Journal
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• no.33
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• pp.62-67
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• 2002

Architecture and Film have been interested in each other since 1895. This concern manifests various aspects and is continued up to now. If we examine into detail of relationship between film and architecture, those share the integration of time and space as the art of time and space. Film makes inexpressible time into space by showing the change of space in the issue that is the merger of time and space. Then, this is the issue of movement that compiling element was intervened. And the creative space of film which is the timely expression stimulates the person to experience whole form through spatial experience. Consequently, the architecture as an image maker must be developed through a research about film as an image creator. Also a discussion about film and architecture do not apply one to the other but must be focused on the mutual relationship.

• Journal of radiological science and technology
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• v.23 no.1
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• pp.13-19
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• 2000

We have presented with the "A study on overexposure rate according to over-density in chest X-ray radiography(I)" last year. In this report, We could calculate the entrance skin dose from chest X-ray film density the formula $I_0=Ix/e^{-{\mu}x}{\times}mG$, (mG is Bucky factor) was used to deliver the skin dose. At that time, There was two problems that the Bucky factor from maker was not equal to field experience and the field size influenced on the Attenuation Rate. The experiment of Bucky factor was done from film method and retried the Attenuation Rate of Acryle phantom according to Good & Poor geometry. As the results, The Bucky factor from maker higher than in this experiments $30{\sim}40%$. The Attenuation Rate in good geometric condition brings about a little alteration compare with poor geometric condition. In the field experiment, we could get the chest image with very low entrance skin radiation dose $29.3{\mu}Sv$, especially with air gap methode, the entrance skin dose was detected $10{\mu}Sv$.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.343-350
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• 2019

As an important visual element, color in animated films can not only depicts the reality, but also conveys emotion and meanings, which play an important role in shaping the space of animated films. As one of the most outstanding animated films, Coco uses bold and unique color language to shape the film space. It uses the national color to blend the Mexican culture into the story space making it full of Mexican regional and cultural connotation, uses color contrast to shape the physical space, highlighting the three-dimensional and deep sense of the physical space. And also uses color association to create the psychological space, leading audience into the spiritual world of the film. Based on the analysis of the Coco, we an see that when shape the film space of animation, the film maker should give full play to the characteristics and function of color, and apply different color language to shape different space according to the role of the film space, so as to expand and deepen the connotation and expressiveness of film space.

• The Journal of the Korea Contents Association
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• v.12 no.2
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• pp.116-126
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• 2012

As a film maker, Lee Chang Dong stands out from most Korean film makers who work within the trappings of genre films. To be sure, Lee has also used the trappings of genre films, such as noire and melodrama, but primarily as a tool to communicate with film audience. In his most recent film "Poetry", Lee seems to have even stripped even the minimal trappings of genre film. Lee commands the audience to self-reflect and work towards their own conclusions by denying them the illusory identification on screen. In this way, Lee's works are counter cinema. Lee achieves a distancing effect using such filmic apparatuses as hand-held camera, fantasy, mise en abyme, and returned gaze. Through these filmic apparatuses, Lee exposes the re-presentation of text and compels his audience to see the historical and political contexts of the text. In this study, I make the case that Lee Chang Dong's film making is an act of repetition compulsion that cultivates ethical reflection, through symbolization of the invisible realities.

• Cartoon and Animation Studies
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• s.27
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• pp.199-219
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• 2012

An innovative narrative film-making always came out of conflict and negotiation between reality and film form. A lesson we learn from their film-making is a certain reality is no more possible to be dealt with by conventional narrative. A dialectic between a real life and a representation drives a certain film-makers to make films. Kore-eda Hirokazu is internationally known as developing his own method of meshing of so-called real life and the artifice of film. As He began his career as a documentary film-maker, made several documentaries for TV and then turned to his feature film-making, documentary film-making defines the basic stance in all of his film-making. He in particular emphasized that he considered the fundamental ethical standpoint of documentary to be filming from the standpoint that one does not - or cannot - know the person one is filming. And therefore even in his fiction films he avoids subjective cinematic structures that offer easy access to the internal states of his characters. He makes his audience observe the internal states of his characters from the outside with his narrative strategy. This article will analyse two documentary films of Koreeda Hirokazu in such a way that his documentaries meshes a real life and the artifice of film and then explores such a fiction film like that changes its documentary methods into narrative strategy for the same effect on the audience.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.154-163
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• 2014

This paper has examined the current status of Korea's welfare policy and asserts the necessity of artist classification by types of employment, dividing them into those who have irregular jobs and those who are in permanent positions, focusing on filmmakers. Furthermore, it has looked into the certification policy for artist welfare support that is currently in action. In conclusion, this paper discusses the certification and suggests implementation methods for "Artist Welfare Card" in expectation of future activation of Artist Welfare Support Project.

• Polymer(Korea)
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• v.37 no.6
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• pp.677-684
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• 2013

Zinc alginate films were prepared by a film maker from sodium alginate solutions of different weight ratios and then they solidified into 3 wt% content $ZnCl_2$ coagulation solution and washed and dried at a $60^{\circ}C$ oven for 20 min. The characteristics were measured by several methods (antimicrobial activity, viscosity, FTIR, TGA, SEM, EDS, contact angle, tensile strength and solubility) and the film properties were investigated. The antimicrobial test showed that the zinc alginate films result in excellent antimicrobial activity in the two strains (Klebsiella pneumonia, Staphylococcus). The surface of zinc alginate film from the solution of 9 wt% sodium alginate showed more uniform shape than any other films and the cross-section were hard and rough when the films were well-solidified by the $ZnCl_2$ solution. The tensile strength of zinc alginate films increased along with the concentration of sodium alginate solution due to the cross-linking, and the initial thermal decomposition temperature increased gradually.

• Special Issue of the Society of Naval Architects of Korea
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• 2008.09a
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• pp.46-53
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• 2008

Recently, the synthetic material stern tube bush has been applied by ship owner's requirement because the synthetic material has a merit. That is to say, when stern tube seal is damaged and sea water comes into stern tube, it can work without problem because of water lubricating property. However, the material also has a demerit of temperature rise problem when some factors meets on synthetic material, for example, not sufficient lubrication oil supply and not proper shaft alignment and so on. As known in the world, the RAILKO bush is rampant for synthetic material by some ship owner because of the above mentioned reason. However, the bush has several accidents on large container vessel. Unfortunately or fortunately our yard has a chance to apply the RAILKO bush owing to requirement of specific ship owner. Therefore, it is much more required to approach the accurate shaft alignment analysis. In line with this reason, we had a shaft alignment calculation considering hull deformation and hull flexibility (hull stiffness). Also, in the calculation, we had considered dynamic condition which is reflected he propeller thrust forces and moments and oil film stiffness on the shaft alignment calculation. According to he shaft alignment calculation, bearing slope was applied on the tern tube bush and was measured. The RAILKO bush should be applied the running in procedure according to maker's recommendation for performing the oil film on the bush surface. Finally, the vessels were delivered successfully without any problem with AILKO bush as shown on his paper.