병원 「행복한 가정운동」활동 사례발표

김영혜,Kim, Yeong-Hye 한국가톨릭의료협회 1989 한국가톨릭병원협회지 Vol.20 No.-

한국 남해 참조기의 연령과 성장

김영혜 ( Yeong Hye Kim ),이선길 ( Sun Kil Lee ),이재봉 ( Jae Bong Lee ),이동우 ( Dong Woo Lee ),김영섭 ( Young Seop Kim ) 한국어류학회 2006 韓國魚類學會誌 Vol.18 No.1

한국해역에 분포하는 오징어의 계군분석(系群分析): 1. 군의 분리

김영혜 ( Yeong Hye Kim ),강용주 ( Yong Joo Kang ) 한국수산학회 1995 한국수산과학회지 Vol.28 No.2

본 연구는 1991년 2월부터 1992년 7월까지 우리 나라 해역에 분포하는 오징어에 대해 외투장 조성과 생식소 발달 상태에 의해 夏季群, 秋季群 및 冬季群과 같이 세 群으로 분리하였다. 오징어의 크기와 성숙에 관한 축적된 지견에 근거하여 외투장 조성에서 群을 분리시, 채집시의 외투장과 생식소 발달 상태를 오징어의 크기와 성숙에 관한 연구자의 축적된 지견과 비교하여 분리한 群과 Tanaka (1956)의 방법을 적용하여 분리한 群이 가장 잘 일치하는 것을 알 수 있었다. 그러나 Bhattacharya (1967)와 Cassie (1954)의 방법에 의해 분리된 群과는 잘 일치하지 않았다. Populations of the common squid, Todarodes pacificus in the Korean waters were analyzed using the samples taken monthly from February, 1991 to July, 1992. Summer, Autumn and Winter cohorts were arbitrarily established based on frequency distributions of mantle lengths and maturation stages. As cohorts were seperated in mantle length distributions on the basis of accumulated information of size and maturation of T. pacificus, cohorts seperated by the present method were mostly in accord with those by Tanaka`s method. But they were not consistent with those by Bhattacharya`s and Cassie`s methods.

Morphological Analysis of Three Populations of Saxidomus purpuratus in Korean Waters

김영혜 ( Kim Yeong Hye ),류동기 ( Lyu Dong Gi ),권대현 ( Kwon Dae Hyeon ),장대수 ( Jang Dae Su ),김종빈 ( Kim Jong Bin ),김성태 ( Kim Seong Tae ) 한국수산학회 2003 추계학술발표회 Vol.- No.-

청소년 어머니, 보건교사 및 일반 여교사들간의 성역할 차별 의식

김영혜 ( Kim Yeong Hye ) 부산대학교 여성연구소 2003 여성학연구 Vol.13 No.1

수영만에 분포하는 어류의 종조성과 계절변동

김영혜(Yeong Hye Kim),전복순(Bok Soon Jeon),강용주(Yong Joo Kang) 한국수산과학회 2000 한국수산과학회지 Vol.33 No.4

Fish were collected by an otter trawl from December 1995 to July 1997 in Suyoung Bay, Korea. The temperature ranged from 12.0 to 27.7℃ and salinity ranged from 31.2 to 34.45‰. The number of species, number of individuals and biomass of fish collected were 52 species, 2,006 individuals and 63,580 grams, respectively. The demersal fish predominated in the number of individuals (90.4%) and biomass (81.4%). The diversity index (H`) was 1.5∼2.6. The dominant species were Platycephalus indicus, Limanda yokohamae, Sillago sihama and Hexagrammos otakii.

〈잔 다르크의 열정〉의 표현주의적 성격에 대하여

김영혜(Yeong-Hye Kim) 한국영화학회 2011 영화연구 Vol.0 No.50

This article is a study on the Expressionistic characteristics of C. Dreyer’s eminent film, The Passion of Joan of Arc(1928). Though The Passion is generally categorized as an Expressionist film, many film critics and scholars see the film as a wonderful combination of 1920s’ popular European film styles--French Impressionism, Russian Montage films and German Expressionism. My purpose of this article is not to trap the film into one concrete category but to understand for what artistic purpose Dreyer used the Expressionistic elements most strongly in the film. This understanding leads to the further analysis on Andre Bazin’s severe criticism on the Expressionist films, especially 〈The Cabinet of Dr. Caligari〉(Robert Wiene, 1919). Bazin insists that the film did all possible violence to images with painted and distorted set decoration and unnatural lightings. For Bazin, film is destined to represent natural reality or at least a plausible reality which an audience can recognize as what they know in reality. Panofsky also criticizes 〈Dr. Caligari〉, saying that the film pre-stylized our reality before it faces the reality as it is. The ground what Bazin and Panofsky’s criticism steps on is that film was born out of photography, a technology which records realty as it is. According to this position, it is not surprising that psycho dramas like 〈Dr. Caligari〉 or scientific films like Melies’s 〈A Trip to the Moon〉 are treated as ‘failures’ because these films use artificial background and lighting to express ‘what is invisible’ or ‘what does not exist’. However a lot of films have human being’s emotion, imagination, inner conflict, state of mind, dream or fantasy as its main subject matter. If film makers who are interested in these subject matters are restricted in filming outside world as it is, it would be the same thing as to put them in fetters. Camera records whatever it is in front of it. Camera does not make difference between natural reality and artificial reality. Film history is divided into two clearly separated styles, realistic and expressionistic style. Both deserve proper appreciation for their own virtue and beauty rather than disparaged on the basis of one of two positions.

한국 해역에 분포하는 오징어 ( Todarodes pacificus ) 의 생식생태학적 방법에 의한 계군분석

김영혜(Yeong Hye Kim),강용주(Yong Joo Kang),최수하(Soo Ha Choi),박차수(Cha Soo Park),백철인(Chul In Baik) 한국수산과학회 1997 한국수산과학회지 Vol.30 No.4

Population analysis of the common squid, Todarodes pacificus identified three seasonal cohorts in the Korean waters. They were significantly separable in terms of spawning period and fecundity, and they were slightly different in frequency distribution of egg size, while they are not significantly different in mantle length at 50% maturity.

<워낭소리>의 픽션(fiction)적 내러티브 구축에 대한 연구

김영혜 ( Yeong Hye Kim ) 한양대학교 현대영화연구소 2010 현대영화연구 Vol.6 No.2

<Old Partner>, the independent documentary film has recorded more than three millions of audience during 6 months(it was first released in January, 2009). The reason of its unexpected popularity was hotly debated in journalism and on internet. The reason of its success was generally diagnosed due to the film`s nostalgic atmosphere which reminds `the lost hometown` and sense of guilty of middle aged audience for their abandonment of old parents. Though my research was started from simple curiosity-why the film has won such huge popularity-, I thought there should have been something more than that. Through my research, I have discovered that the film heavily depends upon fictional strategy in plotting and characterization of the heroes including animals. The former is achieved by putting the sequences in fictional order not in the order of them really happened and the latter is mainly achieved through editing and using sound. Both strategies contribute in making an effective popular fictional story form that Vladimir Propp suggested in his famous book, The Morphology of the Falk Tale. Thus, although the film is categorized as a `documentary` film, it actually appears as an excellent `fiction` film, using narrative strategy of popular fictional films. Therefore, the film could acquire the `popularity` that popular fiction films generally enjoy as well as the `truthfulness` that people normally endow to documentary films.

예술가의 ‘의식의 흐름’으로서의 영화

김영혜(Kim, Yeong Hye) 한국영화학회 2016 영화연구 Vol.0 No.70

안드레이 타르코프스키(Andrei Tarkovsky) 감독의 <거울 Mirror>(1975)은 주인공의 어린 시절에 대한 기억과 꿈, 상상 등으로 이루어진 자전적 성격의 영화이다. 특정한 스토리 없이 단편적인 에피소드들과 이미지들이 무질서하게 배열되어 있는 듯 보이는 이 영화는 그럼에도 불구하고 한 편의 정서적 완결체로서 관객(특히 러시아 관객층)에게 크게 어필했다. 필자는 <거울>이 이처럼 한 편의 정서적 완결체로 작동하는 이유가 편집에 있다고 보고, <거울>의 파편적 에피소드들과 이미지들이 어떤 편집전략 하에 결합되어 있는가를 밝혀보고자 하였다. 이를 위해 먼저 타르코프스키의 편집관을 살펴본 결과, 감독이 <거울>에서 시도하고자 한 것은 ‘인간 사고의 논리(the logic of a person’s thought) ‘에 따른 개별장면들의 결합인데 그 구체적 방법으로서’정서적⋅연상적 연결(poetic connection⋅associative linking)’을 강조하고 있다는 점을 파악하였다. 필자는 타르코프스키가 말하는 ‘인간 사고의 논리’를 ‘인간 의식의 흐름(stream of a person’s consciousness)’으로 이해하면서, <거울>이 주인공의 의식의 흐름을 형상화하기 위해 ‘정서적⋅연상적 연결’ 방식을 개별 장면들의 결합에 어떻게 적용하고 있는가를 시퀀스 단위로 분석해보았다. 분석 결과, 이미지나 사운드가 불러일으키는 연상이 빈번히 사용되고 있는데, 이는 유사한 이미지나 사운드의 연결이라는 단순한 차원이 아니라, 특정 이미지나 사운드가 주인공의 의식(사고)에 불러일으키는 정서나 느낌으로 이어진다는 점을 파악하였다. 따라서 <거울>을 온전히 감상하기 위해서는 개별 장면들이 불러일으키는 정서적 느낌 자체를 충분히 감지할 수 있어야 하고, 더불어 이러한 느낌이 유도하는 주인공의 의식과 사고의 흐름을 함께 공유할 수 있어야 한다는 점이 분명해졌다. 진 영블러드(Gene Youngblood)는 미래의 ‘확장된 영화형태’를 논하면서 미래의 영화는 전통적인 스토리텔링 위주에서 벗어나 ‘감독의 의식과 지각의 다큐멘터리(a documentary of the artist’s consciousness and perception)’가 될 것이라고 예측하였다. <거울>은 그러한 미래영화의 형태가 어떤 것이 될 것인가에 대해 의미심장한 전범을 이미 보여주고 있다고 판단된다. <Mirror>(Andrei Tarkovsky, 1975) is an autobiographical film consisted of the hero’s memories, dreams and imaginations on his childhood. Without a specific narrative, this film, which seems to be a chaotic combination of fragments of short episodes and images, nevertheless strongly appealed to the audiences(especially Russians) as an emotional whole. I estimated the secret is in the editing of the film, so I decided to find out the editorial strategy under which the fragmental episodes and images of the film put together. First, I examined Tarkovsky’s thoughts on editing. What he tried in the film in terms of editing was to apply the logic of a person’s thought in connecting individual shots. As a specific editing method, he put emphasis on poetic connection and associative linking of the individual shots, scenes and sequences. I interpreted his ‘logic of a person’s thought’ as ‘stream of consciousness’ and closely examined the linkage of the film to find out how the director applied the ‘poetic⋅associative linking’ strategy to connect shots, scenes and especially, each sequences. As a result, I find out that in the film, the associations which specific images and sounds provoke are used frequently. Important point here is what these images and sounds provoke are not simply another similar images and sounds but ‘feelings and emotions’ in the hero’s consciousness. Therefore, it has become clear that to appreciate the film properly, audience should fully perceive the feelings each shots provokes, and furthermore, should hold in common the stream of consciousness and thoughts of the hero(Tarkovsky himself). A film scholar Gene Youngblood once anticipated that the future film will be ‘a documentary of the artist’s consciousness and perception’, which is very different from the traditional story-telling form. I think <Mirror>, already and significantly, has shown what the future film would be.