Can Taiwan’s New Government Respond to the Changing Character and Needs of Innovation and Entrepreneurship?

Unger,Barry,Greiman,Virginia A.,Wan,Wendy W. N. 한국유통과학회 2019 KODISA ICBE (International Conference on Business Vol.2019 No.-

This paper considers innovation based entrepreneurship and its challenges in Taiwan and the possible impact from the election last year as President of Tsai Ing-wen of the Democratic Progressive Party. We discuss changing views of innovation from being primarily incremental technological improvements resulting from a Triple Helix model of close collaboration between elite government, academic, and business institutions, to one more based on combinatorial innovation, networking, and lean startup practices allowing the rapid creation of novel busines and service models. We augment this discussion with structured interviews of young Taiwanese entrepreneurs regarding their personal experiences and their impressions of how innovation and SME relevant policies and priorities of the new Taiwan government are evolving.

TRANSNATIONAL TROPES OF THE COMBAT FILM GENRE: A COMPARATIVE ANALYSIS OF THE KOREAN WAR "DIVISION FILM": BATTLE OF INCHEON: OPERATION CHROMITE (2016) and WOLMI ISLAND (1982) "The war film cannot admit that modern warfare is about essentially dehumanizati

Unger Michael Anthony 한국영상제작기술학회 2023 영상기술연구 Vol.- No.42

The combat war film genre, established in Hollywood during World War II, in its permutations across world cinema continues to demonstrate a remarkable transnational paradox: although their ideologies are specifically determined by their nation states and film industries as reconstructed historical representations of war, together they partake in the common purpose to frame violent conflict as a constructed metanarrative of cinematic violence-one that fulfills the dual purposes of entertainment value for mass audiences as well as a cinematic expression of a collective remembrance. One unique subgenre of the combat film that North and South Korea share is the "division film" that depicts a theme based on the division of the Korean peninsula and/or uses it as an overt narrative element. The South Korean film Battle of Incheon: Operation Chromite (John H. Lee, 2016) and the North Korean film Wolmi Island (Cho Gyong-sun, 1982) respectively depict the Battle of Incheon from opposing ideological perspectives, yet they both share and employ four essential tropes of the combat film genre: (1) the Infallible Father in the form of a leader, (2) who leads a combat unit against overwhelming odds, (3) with a clear-cut purpose or mission, (4) that gives their deaths a meaningful sacrifice at the behest of the nation. Cinematically these moments of combat are rendered throughout the film with a specific visual punctuation that portrays them as sensationalized spectacles to prioritize viewer empathy and an unproblematic sentimentality towards the traumatic events. This article seeks through a comparative analysis of these two Korean War films as a case study to illuminate how cinematic warfare in this genre is thus aestheticized and anesthetized to a particular narratological and visual formula that treats war experience in the same reductive manner that crosses national boundaries of nationalism and ideology.

The Narratology of the <Russian Doll> Complex Serial Drama -Spiral Story Structure as a Time Loop-

Unger Michael Anthony 한국영상제작기술학회 2019 영상기술연구 Vol.- No.31

The critically acclaimed and popular web television series <Russian Doll> (Netflix, 2019-present) is an effective case study of how complexity of concept and storyline featured in the open end serial drama in the United States is employed towards finding a niche viewership among the plethora of shows available for consumption. <Russian Doll> utilizes the science fiction trope of the time loop to create a series that combines science fiction with mystery, drama, comedy, and even metaphysics. The time loop in <Russian Doll> takes on the form of a spiral story structure where its two main characters stuck in the time loop discover their own cycles of repeated behavior, much in a manner of a video game design, to find the right strategy to break the cycle. While other science fiction television shows employ time loops as a narrative conceit, <Russian Doll>’s innovative approach is constructing its entire first season chronologically as a temporal spiral. Therefore, this article examines <Russian Doll>’s narratology by exploring how its time loop is structured and embodies the episodic and serial formats based on its narrative traits of repetition and progression respectively.

Forging the Personal with the Historical in Cheonggyecheon Medley -Experiments in Documentary Form in South Korea-

Unger Michael Anthony 한국영상제작기술학회 2018 영상기술연구 Vol.- No.28

Experimentation in documentary aesthetics has contributed to creating a more flexible documentary culture within South Korea’s national cinema. Emblematic of the recent generation’s widening embrace of formalist approaches is Kelvin Kyung Park’s film Cheonggyecheon Medley (2010), which helped focus international attention on the Korean experimental documentary. Using iron as a metaphor for Korean modernity, Park’s medley, or collage, of different documentary modes such as archival films, observational footage of iron workers from the neighborhood, musical montages and an essayistic voice-over, creates a kaleidoscope of different documentary sensibilities that reflects Park’s own subjective and fragmented stance as a former Korean ex-pat on the social subject of precarious labor in South Korea. This writing also examines in what ways his postmodern construction reveals to the viewer how each documentary mode determines the visual depiction of the social subject and is also a form of textual abstraction. Expressivity and forms of verifiable knowledge within the documentary enterprise are not mutually exclusive categories but intersect and are inter-connected through notions of evocation of the social subject, creating valid and innovative forms of critical subjectivity in visual ethnography. 다큐멘터리 미학에 있어서 실험다큐멘터리는 한국 영화에 있어서 더욱 유연한다큐멘터리 문화를 만들어내는 것에 이바지해 왔다. 박경근감독의 영화<청계천메들리(2010)>는 요즘 세대의 혁신주의자로서 폭 넓게 포용하며 상징적으로 접근했고 이러한 점이 그의 영화가 한국 실험 다큐멘터리로써 국제적인 관심을 받게되었다고 할 수 있다. 한국 현대화의 메타포로 쇠를 소재로 하는 이 영화는 박경근감독의 기록 영화로 기존과는 다른 다큐멘터리 방식을 취하고 있는데 박감독의메들리 혹은 콜라주로써 동네 금속 노동자를 관찰하여 촬영한 영상과 음악이 있는 몽타주, 에세이 같은 느낌의 내레이션으로 변화무쌍한 색다른 다큐멘터리의감성을 표현해 내고 있다. 해외교포 출신인 박경근감독은 그의 시선으로 한국의불안정한 노동자라는 사회적 소재에 관해 자신의 주관적이고 분열된 입장을 반영하고 있다. 본 논문은 또한 어떠한 방식으로 그의 포스트 모더니즘적인 구성을 관객들에게 보여 주는 지와 각각의 다큐멘터리 방식이 어떻게 사회적 문제를 시각적으로 묘사하는 지에 관해 연구하고 있고 이것이 본문의 추상적 개념의 방식이기도 하다. 다큐멘터리 산업에 있어서 입증할 수 있는 지식의 유형과 표현성은 상호간에 독점적인 카테고리가 아니라 그것들이 서로 교차하는 것이고, 그리고 이는 영상 민족학에서 볼 때 비판적인 주관성의 유효하고 획기적인 유형을 창조해내는 사회적 문제의 환기를 통해 서로 연결된 것이다.

Transnational Desires and Codes of Neo-Noir: - A Comparative Analysis of John Dahl’s <Red Rock West (1993)> and Kim Jee-woon’s <A Bittersweet Life (2005)>

Unger Michael Anthony 한국영상학회 2016 한국영상학회 논문집 Vol.14 No.3

Film critics continually debate whether film noir is a genre, a mode of filmmaking, or a theoretical discourse. The rapid spread of this international film practice throughout global cinema, beginning in the 1950s and its continuing popularity to this day in the form of neo-noir, reveal the transnational nature of its codes and desires. This writing examines, through a comparative analysis, John Dahl’s <Red Rock West (1993)> and Kim Jee-woon’s <A Bittersweet Life (2005)> as two neo-noir films from different time periods, cultures and sensibilities. By analyzing their different approaches to noir’s tropes of the male protagonist, the role of the femme fatale, and their visual iconography of color palette and setting, this essay deconstructs noir’s dialectical pleasures of familiarity and novelty. Drawing upon the theoretical writings of Cowie, Kim, Park, and Venet, among others, this essay also seeks to reveal noir’s international origins and explores how these two films embody indigenous cultural traits yet, through their aesthetic approaches to noir’s conventions and international reception, reveal both national and transnational aspects of neo-noir.

PUSHING MIXED CINEMATIC MODES TO THE EXTREME: KNIGHT OF CUPS AND SONG TO SONG AS THE WATERSHED OF TERRENCE MALICK’S FRAGMENTED CINEMATIC AESTHETICS

Unger Michael Anthony 한국영상제작기술학회 2022 영상기술연구 Vol.- No.40

In 2012 the renowned American director Terrence Malick shot two films back-to-back with Knight of Cups released in 2015 and Song to Song in 2017 that together marked a watershed in his career as an auteur in which the aesthetics of style of the director are usually celebrated. Staged within the world of the film and music industries respectively, these two feature films polarized both films critics and audiences at the time as either revelatory or pretentious due to Malick’s reflexivity of his cinematic style reaching its apotheosis. This article, through a comparative, formalist analysis of these two films, examines how Malick’s cinematic signature differs from his previous films through a singular combination of three narrative, documentary, and experimental modes of filmmaking respectively in an extreme, fragmented manner: 1) His narrative approach to scene design privileges a series of moments or episodes of the characters’ experience rather than comprised of a clear dramatic arc of cause and effect. 2) He documents nature as an idealized spectacle or landscape autonomous from the characters that that calls the viewer’s attention to itself by its stunning pictorial compositions. 3) His multiple, character voice-overs are structured as a stream-of-consciousness of thoughts and musings that are detached from the dramatic moments portrayed on screen. Altogether, they challenge the limitations of the narrative feature film form as a cinematic experience for the viewer.

CIRCULAR BRIDGE PIERS AND RIPRAP DESIGN

UNGER JENS,HAGER WILLI H 한국수자원학회 2005 한국수자원학회 학술대회 Vol.2005 No.1

SPATIAL AND TEMPORAL SCOUR FEATURES OF CIRCULAR BRIDGE PIERS

UNGER JENS,HAGER WILLI H 한국수자원학회 2005 한국수자원학회 학술대회 Vol.2005 No.1

Treating diarrhoeal disease in children under five: the global picture

Unger, Carla Chan,Salam, Shumona Sharmin,Sarker, Md Shafiqul Alam,Black, Robert,Cravioto, Alejandro,Arifeen, Shams El BMJ Publishing Group Ltd 2014 Archives of disease in childhood Vol.99 No.3

<P>Rates of childhood mortality due to diarrhoea remain unacceptably high and call for renewed global focus and commitment. Affordable, simple and effective diarrhoeal treatments have already been available for many years, yet a shift in international health priorities has seen coverage of recommended treatments slow to a near-standstill since 1995. This article reviews coverage of recommended childhood diarrhoeal treatments (low-osmolarity oral rehydration solution (ORS) and zinc), globally and regionally, and provides an overview of the major barriers to wide-scale coverage. It is argued that to ensure smooth supply and equitable distribution of ORS and zinc, adequate financing, relevant policy changes, strong public, private and non-government organisation (NGO) collaboration, local manufacturing of pharmaceuticals, mass media awareness and campaigning, in conjunction with strong government support, are necessary for successful treatment scale-up.</P>

What role do employment, income and social identity play for single mother’s life satisfaction?

Stefanie Unger,Corinna Frodermann 한국사회학회 2018 한국사회학회 심포지움 논문집 Vol.2018 No.5