1950년대 후반기 신문소설의 각색과 멜로드라마의 분화

이길성(Lee Gil Sung) 한국영화학회 2006 영화연구 Vol.0 No.30

Korean film flourished enormously in the late 1950s. Melodrama was the genre that gained the most popularity and was made in the most numbers during these years. Popular novels such as serial stories in newspapers were often adapted and established the generic foundation for melodrama. By analyzing two films based on popular novels around 1957, this thesis attempts to inquire into how the melodramas of the time changed: The Pure Love(Sun-aebo) and The Star of Lost Paradise(Silag-won-ui byeol). The former was adapted from serial stories in newspapers of 1930s and enjoyed unprecedented favor. The film is based on a love triangle which was the conventional plot of love stories at the time. However it made alterations to the triangle. The Star of Lost Paradise, originated from the novel in 1950s, went further than the other. The love triangle lost its effectiveness as a plot. The love relationship of the main characters goes through complications as family matters get involved. All of the two novels were made into movies in 1957. The Star of Lost Paradise was not only a huge hit at the box office but also generally applauded by critics. The success of and The Pure Love was no match for that of The Star of Lost Paradise. The thesis argues that the latter reflects the social circumstances of the time through its transformed structure of love relationship and the challenging attitude of the female characters towards the establishment. These changes indicate the schema of a love triangle, a docile woman and a true love shown in the 1930s' novels was no longer valid. The Star of Lost Paradise illustrates a new kind of audience who went along with the changes of the values.

1950년대 외국 스릴러 장르의 한국적 수용양상

이길성(Lee Gil Sung) 한국영화학회 2010 영화연구 Vol.0 No.45

Action-thriller films became a regular part of Korean cinema in the early 1960s. At that time, favorable reviews of the action-thriller films concluded an idiomatic expression, "like imported films" or "like seeing imported films". These comments involved two meanings. One was bearing comparison with imported films. Korean action-thriller films in the 1950s had many problems caused by a poor making-condition after the Korean War. Therefore, "like imported films" meant quite an performance which overcame inferior conditions in Korean film-making. Another meant the real similarities between Korean action-thriller films and imported thriller films. As in the film reviews, imported films in the 1950s had an influence on Korean films, particularly the basic structure of Korean action-thriller films. This article examines the aspects and points on the acceptance of imported films in the 1950s. One of the points is that various genre works in imported films were included in an action-thriller film category because many different types of imported films produced in varied times were concurrently released. As a result, the works that could be divided into gangster, crime and spy films were accepted as a single category which is an action-thriller film. But, the acception of a various sub-genres in thriller played a decisive role in shaping the characteristics of Korean action-thriller films. Therefore, the type of criminal world like gangster became a more important trend than crime-solve narrative in Korean action-thriller films in the 1960s. Especially, the works of Lee Man-hee and Kim Mook have shown remarkable characteristics like the gangster film genre does. However this characteristic is different from the Hollywood gangster's. These works are more similar to the European crime films, for instance Henri-Georges Clouzot's or Jacques Becker's films and Carol Reed's films. The theme in these films, which is action of human beings in the extreme situation, expressed in a nihilistic or cynic mood affected many Korean action-thriller films.

Bit line stacked 어레이에서 gate all around 구조와 double gate 구조의 특성 연구

이길성(Gil Sung Lee),김윤(Yoon Kim),박병국(Byung-Gook Park) 대한전자공학회 2010 대한전자공학회 학술대회 Vol.2010 No.6

미군정 시기 국립극장의 논의와 극장의 공공성 담론 연구

이길성 ( Lee Gil-sung ) 수선사학회 2018 史林 Vol.0 No.65

Theaters were important cultural institutions in Korea after the nation’s liberation from the Japanese rule. Promoting the eradication of the remnants of Japanese colonialism and the construction of a democratic national culture, Korean intellectuals argued for the nationalization of theaters and the creation of a national theater. However, their opinions clashed with those of the U.S. Army Military Government in Korea (USAMGIK), and the attempts to nationalize the ownership of International Theater and turn it into a national theater were frustrated during the U.S. occupation of Korea. Initial plans to nationalize theaters were thwarted due to the USAMGIK’s biased administrative proceedings to support the Central Motion Picture Exchange (CMPE). Similarly, the second attempt also failed when the USAMGIK made an arbitrary decision to transfer the rights to the International Theater to Seoul and the building was turned into the official residence for the mayor of Seoul. As a result, a national theater was established only in 1950, two years after the government of South Korea was founded. Through this process, culture professionals and private organizations such as theater associations criticized the administration’s actions at various levels, and many discussions were brought to the fore. Performing arts groups led by theater organizations and film organizations continued to insist on the nationalization or collectivization of theaters and the establishment of a national theater. To the people in the cultural sector, theaters were not only educational institutions but also the foundation on which true Korean culture was to be developed in line with the founding of new Korea. Based on this general idea, different areas of culture changed their emphases in different circumstances. The cultural group that placed a particular emphasis on the construction of a national theater and the public nature of theaters consisted of theater professionals. Under the banner of a new culture, theater groups were competing with American films and commercial plays in the theaters of Gyeongseong. They were becoming more and more weakened due to the waning popularity of stage theater. On the other hand, film groups found themselves in a situation where production itself was impossible, let alone the discussion about screening spaces. Consequently, the most urgent problem for the film groups was the expanded establishment of state-owned film studios and cinemas across the nation. Meanwhile, the Seoul Theater Association, led by theater managers, advocated an adequate harmony of commercial viability and enlightenment. The members of the association agreed that theaters had to answer the call of the times and build national culture, but the theater was fundamentally a commercial space to them. They argued that, since theater managers had a reasonable mind for operating businesses, they needed to be in charge of the theaters to maintain the balance between the public who wanted entertainment and culture professionals who advocated the formation of a national culture. Most of such discussion, however, were rejected by the USAMGIK and barely reflected in policies. Primarily, the USAMGIK’s theater policy was based on the U.S. foreign policy and the policies the U.S. Indo-Pacific Command, led by Douglas MacArthur, implemented in the U.S. occupied Japan. As a result, the policy lacked adjustments or considerations for Korea’s situation or the sentiments of the Korean people. The lack of understanding of the public role of theaters, rejection of the approval to establish a national theater, and unilateral support for the CMPE’s distribution of American films were the main problems in the USAMGIK’s policy. Due to the biased policy and administrative practices of the USAMGIK, the establishment of a national theater proceeded with difficulty, and the purpose of and plans for a national theater were also significantly reduced, resulting in the limited role of the theater as an educational institution for theater professionals and a performance space for high art.

해방 이후 뉴스-문화영화 제작사 연구 ― 민간 영화사를 중심으로 ―

이길성 ( Gil Sung Lee ) 수선사학회 2015 史林 Vol.0 No.53

Since the Korean liberation from the Japanese rule, a wide range of Korean filmmakers believed there was a need for a production center that was managed by the state, or the National Film Production Center. One of the major reasons was because of the poor condition of the Korean film industry at the time. After the liberation, all the Korean film industry had was equipment that were left at the Choson Film Production Company. During this time, filmmakers in Choson Korea strongly believed they need to make films for “nation-building” and “enlightenment of the people.” To this end, they thought the state should create a foundation for the film industry, which could not be laid with private capital. Their belief had been fueled by the threatening fact that American films began to dominate the Korean film market, and the Korean film industry lacked the skills and the capital to simply overcome this threat with commercial capital. However, the founding of a national film production company was a difficult dream to achieve because of the situation in Korea, and filmmakers interested in enlightening and educating the people established production companies that produced news films, culture films, and document films. According to the interests of each production company, a variety of news films and culture films were made on issues such as sanitation, physical education, education, tourism, geography, and politics. Although the most popular news films and culture films at the time had been produced by the US Army Military Government in Korea (USAMGIK), film produced by Korean filmmakers also received spotlights. These films also provided a discursive field in which a number of different positions and stances on topics were presented. With the founding of Taehan Film Productions in 1949, the state began official productions of news films and culture films, and mandatory regulations to screen news films and cultural films in theaters began to be strictly implemented. As the state’s control over films grew considerably, contents that relatively publicized the state administration or overtly ideological messages were reinforced in news films and culture films. This trend gradually became more prevalent after the war, and the establishment of the National Film Production Company in 1961 marked a crucial point that officially demonstrated this trend.

불확실성, 식자우환?

김상욱,이길성,Kim, Sang-Uk,Lee, Gil-Seong 한국수자원학회 2008 물과 미래(한국수자원학회지) Vol.41 No.9

LRCS 강우-유출 모형의 보정 및 민감도 분석(II) : 적용

오규창,이길성,이상호,O, Gyu-Chang,Lee, Gil-Seong,Lee, Sang-Ho 한국수자원학회 1999 한국수자원학회논문집 Vol.32 No.6

본 논문은 LRCS 모형을 낙동강 수계 송리원 수위표 지점의 18개 호우사상에 대하여 보정 및 민감도 분석을 실시하여 모형의 국내 하천에 적용성을 확인하였고, 모형의 적합성 분석 결과 LAD 추정자가 LS와 WLS에 비하여 좋지 못한 결과를 얻었다. "hot" 행렬의 대각 요소(hi)와 영향성 척도(Di)를 매개변수 추정치를 분석하는데 사용할 수 있고, 매개변수 IL이 모형 출력에 가장 중요함을 알 수 있었다. 매개변수의 오차에 따른 오차 전파의 정도는 IL, TP, F1 의 순서이며, 이는 모형의 출력이 첨두유량일 경우에 민감도의 정도를 나타낸다. 민감도 계수와 hi 의 대각 요소와 Di 값의 분석과 모형의 보정 및 민감도 분석의 관련성을 확인하였다.련성을 확인하였다. This paper confirmed the applicability of model to Korean rivers through the calibration and sensitivity analysis of LRCS rainfall runoff model for 18 storm events of Songriweon station in Nakdong river system, and achieved that LS and WLS were better than LAD by model fitting results. Diagonal element of "hat" matrix and affluence measures were used by analysis of parameter estimates, and parameter IL was the most important parameter in model output. By the results of error propagation according to parameter error, parameters IL, TP, F1 were affected by error propagation, and this is measure of sensitivity for the model output. This paper confirmed the relationship of calibration and sensitivity analysis of model through analysis of sensitivity coefficient, diagonal element $h_i$ and $D_i$._i$.

아치형의 채널을 갖는 SONOS 플래시 메모리 소자 및 어레이

이정훈(Jung Hoon Lee),김완동(Wandong Kim),이길성(Gil Sung Lee),심원보(Won Bo Shim),박병국(Byung-Gook Park) 대한전자공학회 2010 대한전자공학회 학술대회 Vol.2010 No.6

GAA(Gate-All-Around) 구조의 SONOS 플래시 메모리 리텐션 특성 분석

김두현(Doo-Hyun Kim),김윤(Yoon Kim),이길성(Gil Sung Lee),이정훈(Jung Hoon Lee),조성재(Seongjae Cho),윤장근(Jang-Gn Yun),이동화(Dong Hua Li),박병국(Byung-Gook Park) 대한전자공학회 2010 대한전자공학회 학술대회 Vol.2010 No.6

SOI 기판 상에 구현된 플래시 메모리의 구현 조건에 대한 프로그램 동작 효율의 의존성

조성재(Seongjae Cho),박일한(Il Han Park),이정훈(Jung Hoon Lee),윤장근(Jang-Gn Yun),김두현(Doo-Hyun Kim),이길성(Gil Sung Lee),이동화(Dong Hua Li),심원보(Won Bo Sim),신형철(Hyungcheol Shin),이종덕(Jong Duk Lee),박병국(Byung-Gook Park) 대한전자공학회 2007 대한전자공학회 학술대회 Vol.2007 No.11

It is relatively hard to observe the program/erase operation efficiency in the flash memory device fabricated on the silicon-on-insulator (SOI), since sal MOSFET devices have the floating bodies. This property is quite different from that of bulk devices where the operation efficiency has relatively stronger dependence on the back substrate bias. In this work, the dependency of operation efficiency of sal memory device on implementation factors such as SOI thickness and channel concentration is investigated with the aid of the numerical device simulation.