우리나라 다목적 대형방제선 건조의 경제적 타당성에 관한 예비평가

장우진,표희동,Chang, Woojin,Pyo, Heedong 해양환경안전학회 2016 海洋環境安全學會誌 Vol.22 No.4

허베이 스피리트호의 유류유출량이 씨프린스호의 것에 비해 2.5배에 불과하지만, 그 경제적 환경적 사회적 피해는 30배에 이를 정도로 대규모 유류유출의 피해는 기하급수적으로 증가할 수 있다. 본 연구에서는 이와 같은 재난적 해양환경오염사고에 신속하고도 효율적으로 대응할 수 있는 다목적 대형방제선의 건조에 대한 기술적 경제적 타당성을 분석함으로써 다목적 대형방제선의 건조에 대한 당위성과 정당성을 확보하고자 한다. 다목적 대형방제선의 기술적 타당성분석과 선진해양국의 많은 사례를 검토한 결과, 4,000톤급의 자항식 호퍼준설선 겸용 방제선을 건조하는 것이 적합한 것으로 판단되었다. 경제적 타당성 분석결과, 가장 보수적인 추정의 B/C ratio는 0.82로 경제성에 미달하지만 자구적 노력을 통하여 경제성을 확보할 수 있다. 한편, 중간추정치와 낙관적 추정치의 B/C ratio는 각각 2.72와 5.82로 이 사업의 경제적 타당성을 충분히 확보할 수 있다. While the amounts of oil spill caused by the VLCC Hebei Spirit indicated 2.5 times more than that of the VLCC Sea Prince, the economic, environmental, and social damages derived from the Hebei Spirit spill were estimated to be about 30 times greater than those from the Sea Prince incident. This study consolidates the appropriate justification for building a multi-purpose large oil spill response vessel to allow swift and efficient handling of catastrophic marine pollution events through an analysis of technical and economic feasibility of such a project. The result of the technical feasibility analysis illustrates that a hopper dredge and oil spill response vessel with a capacity of 4,000 tons should be more appropriate. The result of the economic feasibility analysis indicates that under the most conservative estimates the project appears to be slightly impractical, with a benefit/cost ratio of 0.82, in which self-help efforts, however, can facilitate the project. And medium to optimistic estimates present benefit/cost ratios are estimated to be 2.72 and 5.82 respectively, representing apparent economic feasibility.

Phage Lysogen 과 EBA 를 이용한 세포내 효소의 회수

장우진,구윤모 ( Woo Jin Chang,Yoon Mo Koo ) 한국화학공학회 1995 화학공학의이론과응용 Vol.1 No.2

선박 연료유 잔존량 추정모델을 이용한 침몰선박 위해도 평가

장우진,이승현,염홍준,이인철,Chang, Woo-Jin,Lee, Seung-Hyun,Yeom, Hong-Jun,Lee, In-Cheol 해양환경안전학회 2016 海洋環境安全學會誌 Vol.22 No.1

침몰선박은 침몰 당시뿐만 아니라 오랜 시간이 경과된 후에도 선체 내에 잔존하고 있는 연료유 등 유해물질의 지속적 혹은 일시적 유출로 2차 해양오염사고를 발생시킬 수 있다. 정부에서는 1999년부터 침몰선박에 대한 관리업무를 수행하고, 침몰선박의 잠재적 위해도를 정량적으로 평가할 수 있는 위해도 평가표를 개발하여 운영함으로써 침몰선박에 대한 국가적 관리체계를 구축하고 있다. 그러나 현재의 침몰선박의 위해도 평가는 침몰선박에 잔존하고 있는 연료유 등의 양에 의해 평가점수가 판이하게 달라짐에도 불구하고, 침몰선박 현황보고자료 중 상당수가 연료유 잔존량 항목이 누락되고 있는 실정이다. 이에 본 연구에서는 선박 연료유 잔존량에 대한 추정모델을 개발하여, 현행 침몰선박 위해도 평가에 적용함으로써 보다 정확한 평가를 수행할 수 있는 방안을 마련하였다. Sunken vessels accidents have harmful impacts on the marine environment because of oils and chemicals in the vessels. The government has managed them and developed risk assessment which can evaluate potential risk quantitatively since 1999. But the grades of present risk assessment has changed greatly depending on quantity of remaining fuel oils, and the list of remaining fuel oils omitted in status report of sunken vessels. Therefore, the aim of the study is to estimate and develop model for quantity of remaining fuel oils and verify the remaining fuel estimation comparison with active vessels. To accomplish the purpose of the study, apply this verified estimation model to current risk assessment and recommend guideline for an accurate sunken vessels risk assessment.

극한 환경용 반도체 기술 동향

장우진,문재경,이형석,임종원,백용순,Chang, W.,Mun, J.K.,Lee, H.S.,Lim, J.W.,Baek, Y.S. 한국전자통신연구원 2018 전자통신동향분석 Vol.33 No.6

In this paper, we review the technical trends of diamond and gallium oxide ($Ga_2O_3$) semiconductor technologies among ultra-wide bandgap semiconductor technologies for harsh environments. Diamond exhibits some of the most extreme physical properties such as a wide bandgap, high breakdown field, high electron mobility, and high thermal conductivity, yet its practical use in harsh environments has been limited owing to its scarcity, expense, and small-sized substrate. In addition, the difficulty of n-type doping through ion implantation into diamond is an obstacle to the normally-off operation of transistors. $Ga_2O_3$ also has material properties such as a wide bandgap, high breakdown field, and high working temperature superior to that of silicon, gallium arsenide, gallium nitride, silicon carbide, and so on. In addition, $Ga_2O_3$ bulk crystal growth has developed dramatically. Although the bulk growth is still relatively immature, a 2-inch substrate can already be purchased, whereas 4- and 6-inch substrates are currently under development. Owing to the rapid development of $Ga_2O_3$ bulk and epitaxy growth, device results have quickly followed. We look briefly into diamond and $Ga_2O_3$ semiconductor devices and epitaxy results that can be applied to harsh environments.

한국영화에서 보이스오버 내레이션의 논평과 목소리

장우진(Chang Woo Jin) 한국영화학회 2005 영화연구 Vol.0 No.26

This essay tries to find out how the commentaries and the voices of voice-over narrations in Korean films from 1963 to 1964 have an influence on the interpretation and the attitude of audience. It can be one of the works which try to find out the characteristics of 1960s' Korean films and the essence of film narrative. Three films are analysed in this essay; The Power for Ten Years (Simnyeonsedo)(1964), The Apron (Haengjuchima)(1964), and Romance Grey(1963). According to the analysis of these films, Korean films from 1963 to 1964 adjusted their voice-over narrations to the characteristics of their genres and the need of the plots (or sub-plots). In The Power for Ten Years, one of historical films, the voice-over narration by an invisible authoritative narrator gives its audience some clues about its hero and lead the sympathy with specific characters which is demanded by plot(sub-plot) through the commentaries on those characters. In The Apron, one of melodramas, the heroine is established as the voice-over narrator, and it can give a special subjectivity and intimacy with the heroine to the audience. As well, the audience is led to the identification with the heroine by changes of the tense and telling(from confession to interior monologue). In Romance Grey, one of satirical drama about ordinary people, the attitude of the audience toward the hero is affected by subtle irony in its voice-over narration and the changing the voice from male's to female's. It may be hard to assert that the voice-over narrations of 1960s' Korean films are superior to those of Sunset Boulevard(1950), All about Eve(1950), or Jules et Jim(1962), but this essay can prove that Korean films, at least the films from 1963 to 1964, knew the ways to influence the audience's interpretation and the attitude toward the characters by using voice-over narrational commentary and changing the voice of voice-over narration when the genre or the plot(sub-plot) needed.

최인규 영화의 불균질성

장우진(Chang Woo Jin) 한국영화학회 2010 영화연구 Vol.0 No.44

This paper deals with how to read the heterogeneity of Choi In Kyu's film in terms of 1940's film history. The heterogeneity of Choi In Kyu's film can be considered in two ways. The one can be considered through inner textual heterogeneity. Inner textual heterogeneity is found in 〈An Angel without a House〉(1941). In this film, the ending sequence that all recite the empire-subject vows does not fit to the whole plot. Most film historians judge this film pro-Japanese due to this ending sequence, but I think the main plot of this film is unrelated to pro-Japan. That is why I would like to call it a pro-Japanese texture. The pro-Japanese texture is just the effect of political main stream and (the main plot of) the film as a product was planned to flatter the trend of that period. The other can be considered through outer textual heterogeneity of Choi In Kyu films. The outer textual heterogeneity is concerned with pro-Japanese trilogy and liberation trilogy. This kind of heterogeneous film world made him judged as an opportunist. But this judgement is due to an error and the absence of verification. Some historians regarded one work as two different works or guessed the main theme of a film from only the title even without seeing it. Moreover pro-Japanese film-makers didn't seem to be asked any kind of atonement or penitence for their pro-Japanese behavior after the 8ㆍ15 liberation. 〈Hurrah for Freedom〉(1946) was also rather a liberation film than a planned film as a product which was flattering the trend of that period. In short, the heterogeneity of Choi In Kyu's films can be read as a filmic reflection of the traits of 1940s' and the homogeneity of his film is a planned film as a product flattering the current issue.

1990년대 강우석 영화의 서울 공간 재현

장우진(Chang, Woo Jin) 한국영화학회 2018 영화연구 Vol.0 No.75

이 글은 가장 대중적인 상업영화 감독으로 인정받는 강우석 감독의 1990년대 영화가 서울의 주거공간과 도시공간을 어떻게 재현하고 있는지 논의한다. 분석대상은 서울 올림픽 이후부터 IMF 사태 발생 전까지 제작된 〈행복은 성적순이 아니잖아요〉(1989), 〈나는 날마다 일어선다〉(1990), 〈누가 용의 발톱을 보았는가〉(1991), 〈미스터 맘마〉(1992), 〈투캅스〉(1993), 〈마누라 죽이기〉(1994), 〈투캅스2〉(1996)이며, 이들 작품은 모두 서울을 공간적 배경으로 한다는 공통점이 있다. 이 글이 제기하는 질문은 세 가지이다. 첫째, 1990년대 서울 공간 변화의 특징이 무엇인가? 둘째, 1990년대 강우석의 영화들은 서울의 주거공간과 도시공간을 어떻게 재현하고 있는가? 셋째, 그러한 주거공간과 도시공간의 영화적 재현을 통해 우리가 독해할 수 있는 당대의 가치체계나 욕망, 불안 등은 어떠한 것인가? 1990년대는 경제적 호황과 더불어 중산층이 급부상한 시기였다. 이 시기에 서울은 아파트 단지가 대규모로 개발되었고 교통망이 크게 확충되었다. 이에 따라 도시 분산화가 이루어졌고, 아파트는 서울 중산층의 대표적 주거공간이 되었다. 강우석의 영화는 1991년까지 주로 현실 비판의 영화였으며, 아파트를 부정적 이미지로 재현하였다. 그러나 1992년 이후 아파트는 중산층 인물의 평범하고도 일상적인 주거공간으로 제시되었다. 이는 당시 아파트가 중산층이 소유하기를 원하는 욕망의 대상이 된 현실을 반영한 것이며, 강우석의 영화는 현실과 동경의 어색한 부정교합 형태로 중산층의 욕망을 소비하게 만들었다. 또한, 당시 한국영화가 도시의 화려함에 주목한 반면, 강우석의 영화는 개발이 되지 않았거나 이미 버려진 도시의 주변공간을 주목하는 경향이 있었다. 이것은 발전의 미완을 상기시켜 주었다. 한편, 강우석의 영화는 새로운 도시공간으로서 자동차 실내공간을 제시하였다. 당시 중산층의 사적 욕망과 소비 대상이었던 자동차의 실내공간은 이제 개인의 자유와 프라이버시가 보장된 은밀한 사적 공간으로 재현되었다. This paper discusses how are the residential and urban spaces in Seoul represented in the 1990s movies directed by Kang Woo-suk who was recognized as the most popular commercial film director in Korea. The subjects of the analysis are as follows: 〈행복은 성적순이 아니잖아요〉(1989), 〈나는 날마다 일어선다〉(1990), 〈누가 용의 발톱을 보았는가〉(1991), 〈미스터 맘마〉(1992), 〈투캅스〉(1993), 〈마누라 죽이기〉(1994), 〈투캅스2〉(1996). All of these have a common thing that they have a spatial background in Seoul. There are three questions that this paper poses. First, what are the characteristics of spatial change in Seoul during the 1990s? Second, how did the films of Kang Woo-suk in the 1990s reproduce the residential and urban spaces in Seoul? Third, what are the value systems, desires, and anxieties of those days that we can read through the cinematic representation of residential spaces and urban spaces? The 1990s was a time when the middle class emerged with economic boom. At this time, apartment complexes were developed on a large scale in Seoul and the transportation network was greatly expanded. As a result, urban decentralization has been achieved, and the apartment has become a representative residential space of the middle class in Seoul. Kang Woo-suk ‘s movies were mainly films of criticism of reality until 1991, and they reproduced the apartments as negative images. However, since 1992, apartments have been presented as ordinary and everyday living spaces of middle class people in his movies. This reflects the fact that the apartment was the object of desire to be owned by the middle class at that time, and Kang Woo-suk’s movie made spectators consume the desire of the middle-class in the form of awkward malocclusion of reality and longing. In addition, while Korean films generally paid attention to the splendor of the city, Kang Woo-suk’s films tended to pay attention to the surrounding space of the city that had not been developed or had been abandoned. This reminded us of the incompleteness of development. On the other hand, Kang Woo-suk’s movies presented the interior space of a car as a new urban space. The interior space of a car, the target of private desires and consumptions of middle class, became represented as a private urban space with individual freedom and privacy guaranteed.

설화, 땅, 그리고 모성에 대한 그들의 이야기, <지슬 - 끝나지 않은 세월2>

장우진 ( Woo Jin Chang ) 한양대학교 현대영화연구소 2014 현대영화연구 Vol.10 No.1

This paper concerns how Jiseul (2012) directed by O Muel consoles people who died or survived during Jeju 4.3 incident for their sorrow by way of a ritual and eventually points to the value of peace by using the implied meaning of self-sacrifice and the motherhood in the Seolmundae-Halmang and Ohbaek-Janggun story, which is one of the most famous folktales in Jeju island. In this film, Jeju is replaced by the cave in which folks hid themselves during Jeju 4.3 incident or the cauldron in which a pig was boiled. The Jeju island as a devastated land during the incident, is personified as a sister Sundeok`s body, the Jeju as a witness in silence is done as a mother Jeonggil, and the land of Jeju itself is done as a living creature with its own breath and feeling. And, not only the folks but also Sergeant Kim who is one of the punitive forces against the folks are included in Ohbaek-Janggun brothers. With these codifications, this film makes Jeju be a Seolmundae-Halmang who was the creator of the Jeju in the first place and became a part of the Jeju itself at last after the death, and who was the mother having given her own body to her five hundred sons for food. It is the great motherhood of the Jeju island that will brings peace with its self-sacrifice and love.

GaN HEMT 대면적 소자 모델링을 위한 DC 바이어스 조건에 따른 게이트 채널 위치별 발생 온도 특성 분석

장우진(Woojin Chang),강동민(Dong-Min Kang),이상훈(Sang-Hun Lee) 대한전자공학회 2021 대한전자공학회 학술대회 Vol.2021 No.6

This paper presents the temperature distribution analysis of gate channels of GaN large-sized HEMT for different DC bias conditions by using an infrared microthermal measurement system. It is analyzed that the temperature difference between locations of the gate channels at high power is significant, and the results of the measurement and analysis need to be considered in designing or modeling high-power active devices.

영화 내러티브의 정보 통제

장우진(Chang, Woo Jin) 한국영화학회 2013 영화연구 Vol.0 No.58

A film narrative is a system of controlled informations. In this research, the focalization and plot of Christopher Nolan’s Following(1988) is analyzed to show how story informations can be controlled in order to achieve the narrative goals in film noir. The narrative of Following is structured in a dual frame. The outer frame(#1∼3 and #67∼68) narrated by the grand narrator is a narrative with zero focalization. The 1<SUP>st</SUP> frame narrative(#4∼12 and #58∼66) in which Bill appears as a storyteller is a narrative with external focalization. In the first half of this frame(#4∼12), the story informations comes from Bill and it helps spectators feel empathy for him. In the other half of it(#58∼66), because the story informations comes from not Bill but a policeman, spectators can be surprised with Bill. The 2nd frame narrative(#13∼ 57), a story told by Bill, is a narrative with internal focalization through Bill. But the deviations from internal focalization through Bill are found two times. The surprise and suspense of this film occur due to these deviations. In short, the control of quality and quantity of story information through the changes of focalization and levels of narration makes it possible to occur mystery, surprise and suspense for spectators in this film noir. Besides, this film has a very complicated syuzhet. The order and arrangement of story information of this film is also controlled by syuzhet and this shows that Following focuses more on surprise which is distinct in film noir than suspense.