한국의 콘택트렌즈 착용자에 관한 몇가지 조사성적

안영순,이철제,김응수,김세태 대한안과학회 1969 대한안과학회지 Vol.10 No.1

애니메이션의 구출과 탈출의 플롯에 관한 연구

안영순 한국만화애니메이션학회 2001 만화애니메이션연구 Vol.- No.5

내면의 외면화: 로저 미셸의 <더 마더>

안영순 문학과영상학회 2010 문학과영상 Vol.11 No.2

The Mother (2003), directed by Roger Michell, is a solid and well made film, touching at least two uncomfortable themes not usually explored in the cinema: denial of love of mother for their own son and daughter, and lust and passion in the third age. This film explores the inner world of a widow who wanted to try something she never had in her life, and solace on someone who is there for her to shoulder on. Backing up moderate storytelling with abundant imagetelling, the work achieves an aesthetic completion. The aim of this article is to study how the director visualizes and externalizes the inner and the state of mind of May and main characters in The Mother. For this purpose, shot analysis which is a shot-by-shot breakdown was applied. In this film, the director shows the theme effectively by using various devices such as second frame, spatial composition and technique of contrast through juxtaposition and collision of images. Throwing the heroine and the leading characters into diverse second frames, or separating them with perpendicular composition, Roger Michell expresses their oppressive and alienated inner world in The Mother. In the same shot or passing through shots and sequences, contrasting various forms of images, for example, the position and direction of character and scene, composition, color, camera angle, lighting, objet and atmosphere etc., he succeeds in representing pictorially May’s internal and hidden desire. With moderated music, pictorial contrivances rather than narrative embody and deliver the theme. In short, the pictorial devices in the film, show effectively the mentality and the inner world of main characters, difficult or unsuitable to express through the first narrative. The Mother (2003), directed by Roger Michell, is a solid and well made film, touching at least two uncomfortable themes not usually explored in the cinema: denial of love of mother for their own son and daughter, and lust and passion in the third age. This film explores the inner world of a widow who wanted to try something she never had in her life, and solace on someone who is there for her to shoulder on. Backing up moderate storytelling with abundant imagetelling, the work achieves an aesthetic completion. The aim of this article is to study how the director visualizes and externalizes the inner and the state of mind of May and main characters in The Mother. For this purpose, shot analysis which is a shot-by-shot breakdown was applied. In this film, the director shows the theme effectively by using various devices such as second frame, spatial composition and technique of contrast through juxtaposition and collision of images. Throwing the heroine and the leading characters into diverse second frames, or separating them with perpendicular composition, Roger Michell expresses their oppressive and alienated inner world in The Mother. In the same shot or passing through shots and sequences, contrasting various forms of images, for example, the position and direction of character and scene, composition, color, camera angle, lighting, objet and atmosphere etc., he succeeds in representing pictorially May’s internal and hidden desire. With moderated music, pictorial contrivances rather than narrative embody and deliver the theme. In short, the pictorial devices in the film, show effectively the mentality and the inner world of main characters, difficult or unsuitable to express through the first narrative.

영화 <프라미스드 랜드>의 심층생태주의 텍스트로서의 의미

안영순,신현철 글로벌 문화콘텐츠학회 2017 글로벌문화콘텐츠 Vol.0 No.28

<Promised Land>(Dir. Gus Van Sant, 2012) is based on fracking, a controversial drilling method to obtain natural gas deep beneath the ground. In this film, Steve Butler is a salesman who’s quickly advancing at Global Crosspower Solutions, an energy company that specializes in obtaining natural gas trapped in underground shale deposits. Analyzing <Promised Land> from a deep ecological point of view, this study is to grasp the meaning of this film. Following deep ecological way of thinking, <Promised Land> challenges the audience: 1) To evaluate the quality of life not by the standard of living, but by the inherent value that exists in everything. 2) Individuals to form a community act in accordance with ecological niche in common with the community. 3) To interfere actively in environmental problems. 4) Not to manage environmental problems, but to care deeply about environmental issues. In short, this movie warns us that the rewards offered by destruction of environment is meaningless and that we might disappear from the earth, if we pursue this rewards. In short, the meaning and value as a deep ecology text of <Promised Land> is as follows: Transforming a dichotomous issue ― environmental development and preservation ― into protagonist’s covert conflict, this film succeeds to replace this subject with spectator’s urgent problem through open ending. 본 연구는 영화 <프라미스드 랜드>가 현재 직면하고 있는 생태적 갈등을 소재로 ‘무엇을’ 그리고 ‘어떻게’ 말하고 있는가를 분석함으로써 작품의 심층생태주의 텍스트로서의 의미를 파악하였다. 이를 위해 영화서사학의 연구 방법론을 토대로 영화의 텍스트를 시퀀스별로 분절하여 서사구조를 분석하여 그것의 통합체적 계열체적 관계들의 의미구조를 추출하였다. 심층생태주의 사고방식에 따라 이 영화는, 삶의 질을 생활수준으로 평가하지 말고 모든 사물에 존재하는 내재적 가치로 파악해야 하며, 공동체를 이루는 개인은 공동체와 마찬가지로 생태적 지위에 부합하는 행동을 해야 하며, 환경 문제에 적극적으로 개입해야 하며, 환경을 관리하려고 하지 말고 관심을 가지길 요청한다. 그리고 이 영화의 환경 텍스트로서의 가치는, 환경 개발과 보전이라는 이슈를 대립되는 두 진영의 탄탄한 외적 갈등으로 플롯화 함과 동시에 그 이슈를 캐릭터의 재구축을 통해서 스티브라는 인물의 내면적 갈등으로 끌어가고, 주인공에 대한 관객의 감정이입과 동일시를 이끌면서 열린 결말 형식으로 그것을 자연스럽게 관객의 중요한 당면 과제로 치환시킨 데에 있다고 판단된다.

사트라피의 『페르세폴리스』: 그래픽노블에서 애니메이션영화로

안영순 국제언어인문학회 2011 인문언어 Vol.13 No.2

Persépolis of Marjane Satrapi : From a Graphic Novel to an Animation Film Young-Soon Ahn (Soonchunhyang University) “Persépolis” is a 2007 French animated film based on Marjane Satrapi's autobiographical graphic novel of the same name. The film was written and directed by Satrapi with Vincent Paronnaud. The story follows a young girl as she comes of age against the backdrop of the Iranian Revolution. The story ends with Marjane as a 24-year-old expatriate. The title is a reference to the historic city of Persepolis. “Persépolis” follows the story of young Marjane Satrapi, the only daughter of an educated Teheran couple who travels through an epic journey of political struggle, Western idealization, religious fanaticism, teenage angst, alienation and depression, and ultimately self-discovery. This animation film is a very true and affectionate adaption of the original comic also drawn by Satrapi who directed the film. The purpose of this article is to study the aspects of adaptation from a graphic novel to an animation film: the transformation of dramatic structure and the mise-en-scène techniques that the directors use to express the process of overcoming Marjane's state of the Otherness. The story is done in flashbacks and most of the animation is in black and white except at the beginning and the end of the film when the narrator is speaking in the present. By reconstituting the narrative structure of the original, the film is split rigidly into three acts and there are certain problems with its structure. Divided in three acts, the film follows Marjane Satrapi as she navigates through an oppressive environment, in both Iran and Austria, while on the lookout for her identity and self worth. Marjane's struggle for establishing her own subjectivity and identity is the film's driving force. And using various mise-en-scène techniques, the directors succeed in describing exquisitely Marjane's inner state of mind as the Other or a marginal man. To contrast the film and its graphic novel roots is made redundant by its production, as it's making a conscious effort to steer clear from recreating the panels as is. Film is more cinematic in approach and fully takes advantage of its use of music and color. As opposed to the novel's more linear story telling, “Persépolis” follows a mainly flashback- driven narrative which further emphasizes main protagonist's faint sense of nostalgia. Music is also used to much effect, as sequences involving popular music will be marked as a highlight, clearly in absentia from the novel. The overall effect is interesting: both mediums become more complementary rather than a substitute.

영화 <조조 래빗>의 통과의례 연구

안영순 국제언어인문학회 2021 인문언어 Vol.23 No.2

The aim of this article is to analyze the structure and aspects of the rite of passage in the film <Jojo Rabbit>(2019). This film, directed and adapted by Taika Waititi based upon the novel Caging Skies of Christine Leunens, is a Jojo Betzler’s growth story. He is a ten-year-old boy in Nazi Germany during the second world war. He is extremely patriotic and loves his country and loves the Führer - he talks to his imaginary friend Adolf Hitler, who, in his mind, he sees as his best friend and biggest cheerleader. The rite of passage is a ceremony or ritual of the passage which occurs when an individual leaves one group to enter another. It involves a significant change of status in society. According to Arnold van Gennep, the rites of passage have three phases: Separation, transition, and incorporation. In the first phase, people withdraw from the group and begin moving from one place or status to another. In the third phase, they reenter society, having completed the rite. The transition phase, liminality, is the period between states, during which people have left one place or state but have not yet entered or joined the next. During the liminal state, one's sense of identity dissolves to some extent, as it is a period of transition. According to the schematic of the rite of passage, the narrative in <Jojo Rabbit> is structured in the form of a correlation between Jojo, who enters through the front door of his house, and then opens the door again and leaves. Jojo has been thoroughly indoctrinated that Jews are horned witches and needs to be killed, falls into chaos while living with Jewish Elsa hiding in his closet. Therefore, as a time and domain of ambiguity, Jojo's house functions as a space for the transition rite equipped with the threshold quality. Taking Elsa outside, Jojo completes the rite of passage. In the rite of passing through the threshold, tying Elsa’s shoelaces symbolizes the growth of Jojo. In the incorporation phase, Jojo assumes his new identity, and re-enters society with his new status. Overcoming racial hatred and prejudice, he empathizes and loves Elsa, a Jewish girl. She then tells Jojo to dance with her ― Rosie believes that dancing is one of the few ways you can be free under this Nazi regime.

이두호의 〈임꺽정〉에 나타난 각색의 양상

안영순 한국만화애니메이션학회 2000 만화애니메이션연구 Vol.- No.4

가토 전방내 혈액흡수에 미치는 Aspirin의 효과에 관한 실험적 연구

안영순,이태수 고려대학교 의과대학 1982 고려대 의대 잡지 Vol.19 No.3

In ocular diseases, hyphema is often experienced. Clinically there are many serious complications such as glaucoma, cataract, blood stain to cornea, etc. Recently, the author has been interested in aspirin which has inhibited action of platelet aggregation and prolongation of bleeding time when it is used systemically. But everyone don't know what influence on the absorption of the anterior chamber hemorrhages when we use it as the subconjunctival or intracameral routes. In this study, simulated anterior chamber hemorrhages were produced by intracameral injection of 0.1㏄ autogenous ^(51)Cr labeled blood through the limbus in 28 rabbits eyes. Thereafter, the author treated the rabbits with aspirin by subconjunctival (40㎎/0.2 ㏄), intracameral(20㎎/0.1㏄), and intramuscular injection (200㎎/㏄) everyday for 10 day. All experimental groups were measured and recorded the changes of radioactivity of the eyes with scintillation counter for 10 days. The final results were summarized as follows ; 1) The time required for 50% of the injected radioactivity to disappear after experimental hyphema was 18 hours in the intracameral injection group, within 48 hours in subconjunctival injection group, over 72 hours in both control and intramuscular infection groups. 2) The rates of removal of the radioactivity from the anterior chamber didn't make any difference between control and intramuscular injection groups. 3) In general, the intracameral and subconjunctival injection groups showed faster rate of absorption of blood from the anterior chamber than the other two groups.

투구꽃을 아시나요

안영순 수필미학 2021 수필미학 Vol.31 No.-

<공각기동대>와 <이노센스>에 나타난 오시이 마모루의 존재 인식

안영순 順天鄕大學校 人文科學硏究所 2005 순천향 인문과학논총 Vol.15 No.-