실험계획법을 이용한 착상 열교환기의 설계

정종화(Chung Chong Hwa),임금식(Im Keum Sik),이명렬(Lee Myung Ryul) 대한설비공학회 1994 대한설비공학회 학술발표대회논문집 Vol.1994 No.11

조선영화는 어떻게 "반도예술영화"로 호명되었는가 -<한강(漢江)>의 일본 배급을 중심으로-

정종화 ( Chong Hwa Chung ) 국제한국문학문화학회 2016 사이 Vol.20 No.-

이 글은 조선어 발성판으로 기획된 <한강>이 일본 ‘내지’의 유럽예술영화 배급사인 도와상사로부터 후반 작업을 지원 받아 완성된 사건에 주목해, <한강>이라는 조선영화의 어떠한 요소가 도와의 ‘내지’ 배급을 결정짓게 했을 것인가에 대해 추적해 보았다. 먼저 조선영화 <나그네/다비지>가 ‘내지’영화사와의 합작으로 일본에서 배급된 선례를 통해, 조선인 감독의 ‘내지’ 영화촬영소 수련 경험, 기술 제휴의 제작과 ‘일본어 자막판’이라는 배급 방식 그리고 조선영화에 대한 일본영화계의 담론적 수용 양상을 주목하였다. 이러한 요소들은 <한강>의 제작과 도와상사 의 배급 과정에서도 유사한 맥락으로 연결되는 것을 확인할 수 있었다. 특히 이 글은 ‘내지’영화계에서 조선영화가 ‘향토색’, ‘조선적인 것’ 등의 담론을 기반으로 ‘반도예술영화’로 명명되는 상황을 주목하였다. 하지만 조선영화는 도와상사가 배급하는 예술영화 관객층에 ‘예술영화’로서 수용되지는 못했다. 조선영화 <한강>의 ‘내지’ 이출 사례는, 영화 매체를 둘러싼 식민지와 제국의 흥미로운 역학을 보여주고 있다. Focusing on the fact that a colonial Korean (Joseon) talkie project Han River was completed with the sponsorship for post-production by Towa Shoji-Film, a European art film distributor in mainland Japan, I probe into the decisive elements of a colonial Korean (Joseon) film; why Towa decided distribution of a Joseon film Han River to Japan. First of all, examining a precedent of a Joseon and Japanese coproduction film Nageune/Tabiji’s distribution to mainland Japan, I paid attention to colonial Korean director’s apprenticeship at film studios in mainland Japan, the technical tie-up for production, the distributing model of ‘Japanese subtitled version,’ and finally reception of discourse in the Japanese film scene against colonial Korean films. I confirmed that these elements were also shown from Han River’s production and Towa’s distribution in similar context. Especially, this paper concentrates on denominating a Joseon film ‘a peninsula art film,’ since the Japanese film scene had formed discourse on ‘local color’ and ‘the Joseoness.’ Nevertheless, a Joseon film could not be received as an art film to the viewers of Towa Shoji-Film. This distribution of a Joseon film Han River to Japan describes a revealing dynamics between a colony and an empire.

해방기 한국영화계의 "예술영화"지향 -영화 < 해연 >과 관련 잡지 분석을 중심으로-

정종화 ( Chong-hwa Chung ) 한민족문화학회 2016 한민족문화연구 Vol.54 No.-

이 글은 해방기 한국영화 < 해연(일명: 갈매기) >(1948)과 관련한 2종의 잡지 『예술영화(해연특집)』와 『해연』을 분석해, 영화 텍스트를 둘러싼 콘텍스트(context) 그리고 작품 해석(interpretation)이라는 두 영역을 구체적으로 검토하고자 한다. 이 둘을 관통하는 것은 바로 ``예술영화``라는 키워드이다. 잡지 『예술영화』와 『해연』은 영화 < 해연 >에 참가한 제작진과 출연진이 영화에 착수하면서 남긴 글과 영화를 마치면서 남긴 글을 각각 기록하고 있다는 점에서, 이 영화의 제작 환경 나아가 해방기 한국영화계의 상황을 파악하는 동시에 텍스트 자체를 이해하고 분석하는 참고문헌과도 같은 역할을 하고 있다. 해방기 극장가에 ``아메리카영화``로 대표되는 상업영화가 범람하는 상황에서, 영화의 제작사인예술영화사는 ``예술영화`` 운동을 실천하겠다는 의지를 잡지와 영화를 통해 동시에, 또 상호보완적으로 밝히고 있는 것이다. 먼저 2장에서는, 해방기 영화잡지 중에서 『예술영화』와 『해연』이 차지하는 위치와 성격을 검토했다. 두 잡지는 정기간행물로서의 영화전문지가 아닌 일회성의 업계관계지로 구분할 수 있고, 구체적으로 ``영화특집호``라는 성격을 띠고 있다. 예술영화사는 영화운동의 차원에서, 즉 예술영화의 이론적 고찰과 실천을 위한 목적으로 잡지/영화를 동시에 내놓았다. 그들의 예술적 지향과 방법론의 탐구는 민족영화 건설, 민족예술운동이라는 해방기의 문화운동 담론에 기반한 ``건국 프로파간다 영화``로 수렴되는 것이었다. 3장에서는 잡지 『해연』에 실린 시나리오를 분석해, 이 영화의 원형 그리고 영화화의 차이를 검토했다. 이규환은 이 영화가 위치하는 정치적 프로파간다에 동의하면서, 연출을 통한 차이들을 만들어 나간다. 이는 공간의 변경, 영화적 압축, 촬영 신의 재구성 그리고 영화적 표현의 문제로, 그는 예술영화사의 영화운동이라는 실천을 현실화시키는 작업을 맡고 있다. 이 글은 영화 < 해연 >과 2종의 잡지가 해방기 한국영화상(像)이라는 예술적, 정치적 시대 과제에 부합하기 위해 어떠한 전략을 펼쳐갔는지에 대해 고찰하는 작업으로서 의미가 있을 것이다. In order to examine the aspects of context and interpretation on a film text of Seagulls, this p aper w ill analyze the two magazines regarding Seagulls made in 1948 after the Liberation; the special edition for the film Seagulls of Art Film and a magazine named Seagulls. These two magazines Art Film and Seagulls include the articles written by the crew members and actors in the film before and after they shot the film. Therefore, both play a role as a bibliography to understand the film text as well as to comprehend the production environment and the film scene after the Liberation of Korea. While many main stream films such as American movies were released in Korean theaters after the Liberation, Art Film Productions, the production company of Seagulls declared its intention that they should practice the art film movement through the magazines and the film at the same time. First of all, I, in the second chapter, investigated the position and features of Art Film and Seagulls among the film magazines after the Liberation. These two magazines are classified as the temporary organization magazine, not a film magazine as a periodical. Specifically, they are special editions for the film. Art Film Productions issued the magazines and released the film at the same time with the purpose of art film``s theoretical consideration and practice in terms of a film movement. Their artistic direction and methodology was possible within ``national building propaganda film`` which is based on discourse of cultural movement after the Liberation including establishment of national cinema and the national art movement. In chapter 3, I analyzed the screenplay in the magazine Seagulls and examined difference between the prototype of the film and the filmed text. Director Lee Gyu-hwan agreed on the political situation around this film and created some differences through his directing; changes of space, abbreviation and re-construction of the scenes, and matters of cinematic expression. Therefore, he played a role of realizing the film movement by Art Film Productions. It is important to note that this paper probes into the strategy of the film Seagulls and the two magazines to coincide with their artistic and political task of the time; the establishment of the image of Korean cinema after the Liberation.

1950~60년대 한국영화 스타시스템에 대한 고찰

정종화(Chung Chong Hwa) 한국영화학회 2007 영화연구 Vol.0 No.34

This paper aims at examining the star system in the Korean film history from the middle 1950s to the middle 1960s. More specifically, it is to portray the landscape of the star system in the Korean film world in 1950s and 1960s through the discourse on the 'attached star system' or the 'attached actor system.' This kind of Korean star system appeared spontaneously as individual film industry demanded interiorly, and at the same time it was forced as the policy called. As the Hollywood star system is inseparable from its studio system, the attached actor system can also be examined along with the context of the film industrialization policy in Korea at that time. Due to the attached actor system and regulations in 1950s and 1960s, the topography of the Korean film world can be described with the major productions to answer the policy versus the individual productions without legitimate qualification. The Korean film industry in 1950s dreamed of, as it is called, the Hollywood studio system. Although the dream continued in 1960s as well, the desire for the film industrialization became a project incomplete. When the number of productions reached over 100 films in 1959, the production companies demanded to guarantee the stars according to the increasing number of films, and drove forward the attached star system under the necessity of their own. So called the 'franchised theaters' centering around Kook-je, Kook-do, Myung-bo and Sudo Theaters which were specialized as the first run theaters in Seoul since 1958 were established, when realizing the 'attached star system.' The Korean film industry of the middle and late 1950s put the star system in operation as the internal demands with dreaming of the studio system and as the market incentives, while the national policy cal1ed the film industrialization was intervened to enforce the 'attached actor system' artificial1y in the early and middle I 960s, which brought the conflicts with the reality of the film world. When the Motion Picture Law was promulgated in March 1962, the topic of the Korean film world to conform to the national film policy of the military regime was the film production aiming at modernization. Although 18 production companies competitively enforced the attached star system according to the policy of the Ministry of Publicity after the enactment of the Motion Picture Law in 1962, it ended up with the perfunctory system only for none-stars to become attached to companies. Never did disappear the side effects that the most of stars in leading parts starred at least 5-6 films at the same time. As the amendment of the Motion Picture Law in 1963 forced the production companies to equip synchronous recording systems but postponed enforcing, the artificial regulation on the attached actor was also an impossible project to be realized. The attached actor system which had remained for 5 years on the Law was finally abolished after the second amendment of the Motion Picture Law in August 1966.

원발성 담낭암의 임상적 고찰

정종화(Chung Chong Hwa),신석우(Shin Suk Woo),이재학(Lee Jae Hack) 대한소화기학회 1989 대한소화기학회지 Vol.21 No.4

N/A Primary cancer of the Gallbladder is not uncommon. The prognosis is poor because (1) preoperative diagnosis is difficult, (2) the tumor usually invades the ]iver and adjacent structures by the time of operation and (3) the responses to chemo and/or radiotherapy are poor. A clinical review was carried out in 23 cases of primary Gallbladder cancer patients received the operation at the Department of Surgery, St. Mary's Hospital, Catholic University Medical College between Feb. 1976 and Apr. 1988. The results were as follows. 1) The range of age was 24 to 60 years old, and the peak incidence was in 41 to 60 years old age group with its number of 19 (83%). 2) The ratio of male to female was about 1:2. 3) The clinical symptoms in order of frequency were as follows; epigastric and right upper quadrant pain (82%), indigestion (39%.), nausea and vomiting (39%), jaundice (26%), weight loss (22%). 4) The duration of the symptoms was mostly within 3 months (78%). 5) In preoperative diagnosis, the primary cancer of the Gallbladder was only 9 cases (39%). 6) Surgical procedures were performed as follows; Radical procedures (8 cases, 35%), Palliative procedures (11 cases, 43%) and Laparotomy with biopsy (4 cases, 17%). 7) The tumor was limited to the Gallbladder in 3 cases (13%). Extra-GB invasions were liver (11 cases, 48%), CBD (8 cases, 35%), adjacent lymph nodes, duodenum and peritoneum (each 4 cases, 17%). 8) Gallstones were present in 8 cases (35%.). 9) Adenocarcinoma was the most frequently encountered type (16 cases, 74%), and squamous cell carcinoma (5 cases, 22%), undifferent carcinoma (2 cases, 19%).