수확 후 전처리에 의한 고랭지 배추 ‘춘광’ 품종의 저온 저장 중 품질 변화에 대한 비교

배상준(Sang Jun Bae),엄향란(Hyang Lan Eum),김병섭(Byung-Sup Kim),윤정로(Jungro Yoon),홍세진(Sae Jin Hong) 한국원예학회 2015 원예과학기술지 Vol.33 No.2

강원도 강릉에 위치한 고랭지 지역에서 재배된 배추 ‘춘광’ 품종은 수확 직후 차압식예냉, 통풍식예냉, 예건 처리를 하였고, 전처리 후 각각 처리에 대해 0.02mm HDPE film으로 liner 처리 유무에 따라 분류한 다음 2°C에 저장을 하면서 품질 조사를 실시하였다. 저장 중 무게 손실은 liner 처리구에서 차압예냉이 3% 미만의 손실률을 보였고, 통풍예냉 또한 4% 미만의 손실률을 보였다. 그러나 liner 무처리 구에서는 통풍예냉이 10% 미만의 손실률을 보였고, 차압예냉의 경우 15% 이상으로 가장 많은 손실률을 보였으며, 오히려 대조구가 손실률이 가장 적었다. 가용성고형물의 경우 2-4<SUP>o</SUP>Brix 정도로 나타났으며, 색도는 CIE L* 값은 50 내외로 큰 차이를 보이지 않았고, hue angle 값은 조금씩 감소하였으나 120 ± 2°C 사이 녹색의 범위 안에 분포하여 색의 변화에 대한 차이는 없었다. Chroma 값의 경우에도 28-32 사이에 분포하였다. 경도는 22N 정도로 나타났으며, 처리에 따른 유의적 차이는 보이지 않았다. 관능 평과 결과, 외관과 아삭거림 정도의 경우 차압예냉을 실시한 후 liner를 적용한 배추에서 가장 좋은 결과가 나타났으며, 나머지 항목에서는 유의적 차이가 없었다. 저장 6주 경과 후 liner 무처리구에서 외관이 많이 손상되었고, 7주 경과 후 liner 처리구에서 통풍예냉과 예건에서 내부 갈변이 심하게 발생하였다. Kimchi cabbage ‘Choon Gwang’ cultivar that was grown in highlands in Gangneung was subjected to predrying, room cooling, and forced air cooling, and then packed with/without 0.02 ㎜ HDPE film to investigate the effect of postharvest treatment on quality characteristics during 8 weeks storage at 2℃ (RH 90 ± 5%). Weight loss in forced air cooling and room cooling was lower than 3-4% with 0.02 ㎜ HDPE film liner treatment during storage. However, it was only below 10% in room cooling without liner treatment and forced air cooling without liner treatment led to the highest weight loss, above 15%. Conversely, the control had lower weight loss than the others. SSC was 2-4°brix for all treatments and there was no difference between postharvest treatments and liner treatments. Color index and firmness both showed no differences with/without 0.02 ㎜ HDPE film and postharvest treatments. In sensory evaluation, forced air cooling with liner treatment was effective, with the highest score, especially in appearance and crispness. After 6 weeks, control kimchi cabbage without liner treatment was damaged seriously in appearance and the internal color had changed to brown. Room cooling and predrying with liner treatment changed the start of internal browning to after 8 weeks storage.

필름 누아르? 필름 블랑크!

배상준(Bae Sang Joon) 한국영화학회 2011 영화연구 Vol.0 No.48

This study’s aim is to analyse 〈Thirst〉(2009) by Chan Wook Park, who has drawed worldwide attention with the film 〈Oldboy〉(2003). The previous studies on Park’s works are focused on theme-analyse, so good and evil, desire and celibacy, and guilty conscience. But the film forms, namely filmic apparatuses, that make this themes on his works apparent, have been neglected by the film studies. In other words, there is no attempt to analyse concrete images and frames or mise-en-scene, that realize those characteristic themes by Park. The theme-biased study on Park’s works ist not an exception for 〈Thirst〉, a story of ‘vampire of violent passions’, that portrays the equal question on original sin and rescue of human. Therefore, this study attempts to approach Park’s film from the perspective of style and visual analyse. The keyword is here ‘film blanc’, that Thomas Elsaesser suggested as an extension of the term ‘film noir’. Because 〈Thirst〉 performs the specific theme of acute conflict between releasing of desire and self-repressing with the surrealistic white (also ‘blanc’) images and mise-en-scene. So, this work tries to develop the concept of ‘film blanc’ and to apply it to analysing the form by 〈Thirst〉. This will offer proof, that the term ‘film blanc’ is effective to represent the theme of film, thus corruption of human being and absence of soul.

골연령 기반 유소년 생물학적 성숙도 빅데이터 분석

배상준(Sang-joon Bae),김동호(Dongho Kim) 한국컴퓨터정보학회 2022 한국컴퓨터정보학회 학술발표논문집 Vol.30 No.1

신경 회로망을 이용한 강압형 DC-DC 쵸퍼의 출력 전압 제어에 관한 연구

배상준(Sang-June Bae),이달해(Dal-He Lee),김동희(Dong-Hee Kim) 대한전기학회 1993 대한전기학회 학술대회 논문집 Vol.1993 No.11

시청각적 유사성의 패턴을 이용한 영화의 장면전환 - 상황, 형상 그리고 사운드를 중심으로 -

배상준 ( Bae Sang Joon ) 한국언어문화학회(구 한양어문학회) 2012 한국언어문화 Vol.0 No.48

The film is the spatio-temporal media, so the narrative of film is the battle against time and goes with the movement of space. The director inserts vitally various cutaway techniques for the transformation between lots of scenes. Some film theorists use the transition scene, namely the cutaway mixed with the `editing` or `montage`. But the cutaway means literally only the technique for the crossing between `scene and scene`. The purpose of this paper is to explain the cutaway techniques over the pattern of similarity. The connecting between `shot and shot` within a homogeneous unit of space-time in the sense of editing therefore would be excluded from the object of this study. A magnificent cutaway transcends time and space, moves ahead with the narrative on logic, produces a new meaning, and delivers this sometimes symbolically, sometimes figuratively. There are various techniques for the cutaway as a filmic apparatus, this study however would be focused on the pattern of similarity. The concept of pattern of similarity includes the plasticly relationship between the precedent scene and the following scene, the continuity of the narrative situation and the continual probability of sound. Thus, this cutaway over the pattern of similarity could be divided up into three categories, namely the similarity of situation, shape and sound. Sure, the division of the three categories could not guarantee the clearness, and many directors use that often mixed with the other optical techniques, for example fade in/out or dissolve. However, the cutaway techniques under the conception of the pattern of similarity create the internal and external rhythm in film and emotional effects. In addition to that, it could contribute to the cinematic mediality of the effective delivery of the implicated messages.

한국어 위키피디아를 이용한 분류체계 생성과 개체명 사전 자동 구축

배상준(Sangjoon Bae),고영중(Youngjoong Ko) 한국정보과학회 2010 정보과학회 컴퓨팅의 실제 논문지 Vol.16 No.4

위키피디아는 개방형 백과사전으로서 수많은 편집자들에 의해 작성되기 때문에 빠른 시간에 방대한 양의 정보가 축적되고 있으며, 축적되는 정보의 신뢰성 또한 매우 높다. 본 논문에서는 이러한 장점을 가진 위키피디아의 여러 가지 세부정보를 이용하여 한국어 개체명 사전을 자동으로 구축하는 방법을 제안한다. 먼저 위키피디아의 각 엔트리(entry)의 분류정보를 사용하여 분류체계(class hierarchy)를 생성한다. 생성된 분류체계에 위키피디아 엔트리를 자동으로 매핑(mapping)시킨 다음, 분류체계에서 최상위 계층의 불확실성(entropy)을 계산한다. 마지막으로, 임계값 이상의 불확실성을 가지는 분류체계를 제거함으로써 정확률이 높은 개체명 사전을 구축한다. 본 논문에서 제안하는 방법으로 실험을 한 결과 최고 81.12%(83.94%:정확률, 78.48%:재현율)의 F1-measure의 성능을 보였다. Wikipedia as an open encyclopedia contains immense human knowledge written by thousands of volunteer editors and its reliability is also high. In this paper, we propose to automatically construct a Korean named entity dictionary using the several features of the Wikipedia. Firstly, we generate class hierarchies using the class information from each article of Wikipedia. Secondly, the titles of each article are mapped to our class hierarchies, and then we calculate the entropy value of the root node in each class hierarchy. Finally, we construct named entity dictionary with high performance by removing the class hierarchies which have a higher entropy value than threshold. Our experiment results achieved overall F1-measure of 81.12% (precision : 83.94%, recall : 78.48%).

포스트모던의 디지털 영상 미학: 게임 인트로 케이스 스터디

배상준 ( Sang Joon Bae ) 한국디지털영상학회 2005 디지털영상학술지 Vol.2 No.2

라이너 베르너 파스빈더의 기존해석에 있어서의 한계점과 그 대안에 관한 고찰

배상준 ( Sang Joon Bae ) 韓國獨語獨文學會 2006 獨逸文學 Vol.99 No.-

타블로(tableau)의 영화미학 -파스빈더(R. W. Fassbinder)와 카우리스마키(A. Kaurismaki)를 중심으로-

배상준 ( Sang Joon Bae ) 한양대학교 현대영화연구소 2013 현대영화연구 Vol.9 No.1

There are images, which emphasize the frontality of the two-dimensional closed frame and induce with it particular distance to the reality. This images express openly the theatricality in connection with the acting and the pictoriality in connecting with the silent-art and by so doing suggest irrational character as film images. This paper concentrates on this film images and defines it as filmic tableau (vivant). The tableau in the theory of theater is an important structural element for the pictorial dramaturgy, which focuses on the gesture and physiognomy of actors. The result of such tableau expresses the intense impressions, which appeal to the mind of audience. The tableau in the sculpture shows as an independent performance the reviviscence through the invest of spirit. Therefore, it is regarded as a frozen happening, which is constituted pictorial or theatrical. The concept of the filmic tableau (vivant) expresses the strange stopped situation and the gesture with the physiognomy, which show mute actors, and performs the function to disjunct the relationship between the concrete physicality and the abstract conception. The tableau in here can be considered as place for the perception in the narrative of film and as a reflective attitude of the director at the same time. The films of Rainer Werner Fassbinder and Aki Kaurismaki provide proper examples for the aesthetic of the filmic tableau. Fassbinder made the best use of the filmic tableau for the realization of his film-philosophy to integrate the art into the life. Likewise, Kaurismakis filmic handwriting is composed characteristically of the filmic tableau, which reproduces the gloomy reality of Finland with the unique melancholy. Also, this article aims to study the tableau as a film-aesthetic apparatus and analyze on the basis of this definition the films of the above-mentioned two directors.

〈도가니〉(황동혁, 2011)와 〈부러진 화살〉(정지영, 2012)

배상준(Bae, Sang Joon) 한국영화학회 2013 영화연구 Vol.0 No.55

〈Silenced〉(2011) visualized an infringement upon personal rights of hearing-impaired children, and 〈Unbowed〉(2012) showed the anguish of the weak against the gigantic authority of the judicature. This study’s aim is to analyse this two films, which caused the social phenomenon of the self-questioning for the judicial system in korea. Above all, this two films based on fact created the reality dispute. However, the film, both as media and as art, should be recognized by the filmological discourse and especially by the genre criticism focused on the courtroom drama. Therefore, this paper attempts to approach this two films from the perspective of genre ‘courtroom drama’ and its film grammar. According to kuzina’s categorization of courtroom drama, the courtroom (or legal) drama means the dramatic fiction about crime and civil litigation, and includes as subtypes ‘courtroom whodunit’, ‘legal/justice thriller’, ‘lawyer film’, ‘juryroom drama’, ‘courtroom comedy’, ‘court-martial drama’, ‘social issue courtroom drama’ and so on. In addition to this subgerens, there is also hybrid forms. 〈Silenced〉 falls under the subgenres ‘social issue courtroom drama’ and ‘legal/justice thriller’, and 〈Unbowed〉 is affiliated to the subtypes ‘social issue courtroom drama’ and ‘lawyer film’. In this work, this two films are called as korean hybrid courtroom drama, which cause active communications in our society and independent discussions about the judicial arrangements. In other words, the large courtroom drama audiences form spontaneously a social consensus, and this phenomenon works as a huge observational power toward the society.