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Young Kwon,Kyung Hoon Lee 대한건축학회 2007 Architectural research Vol.9 No.2
The changes of prison facilities in the age of Enlightenment and Industrial Revolution, implies viewpoints architectural space as a representation of power. The aim of the study is to examine the structuralistic approach based on two authors of Michel Foucault and Robin Evans. Both texts are summarized and analyzed to make comparison. While Foucault concentrates upon the ideas relating to punishment which preceded and led to the prison being adopted, Evans regards the reality of punishment as it was executed in its architectural context. The study compares the fundamental difference between the two texts; the approach that each author takes with regard to the central issue of the history of penality. These two different interpretations dictate the framework of each discourse and has resulted a number of different notions of ideas. By comparing divergence and convergence of the texts, the study analyzes each author’s methodology, theoretical position and notions of prison. Keywords are also extracted to articulate the study and each author’s arguments as well.
‘주체’ 이전 북한의 세계영화사 인식 - 『조선영화』 연재(1965~1966)를 중심으로
정영권 ( Chung¸ Young Kwon ) 부산대학교 영화연구소 2021 아시아영화연구 Vol.14 No.2
본 연구는 소위 ‘주체혁명’(1967) 이전인 1960년대 중반 『조선영화』에 실린 김종호의 「세계영화사 개관」을 중심으로 북한의 초기 세계영화사 인식을 텍스트와 콘텍스트 관점에서 살펴본다. 텍스트 분석은 다시 세 개의 하위 쟁점으로 나뉜다. 첫째, 오늘날의 주체사실 주의와 구분되는 마르크스-레닌주의 미학과 그 핵심 원리인 사회주의 리얼리즘의 관점에서 자본주의 영화들을 분석한 부분이다. 둘째, 교조적 사회주의 리얼리즘을 따르면서도 그 교조와 충돌하는 영화 형식과 미학에 대한 이끌림이다. 특히, 서구의 초기 영화 이론과 미학에 대한 조예와 수용은 김정일의 영화론 외에는 인정하지 않는 오늘날의 북한과는 판이하게 다른 부분이다. 셋째, 소련영화 중심의 서술과 에이젠슈테인에 대한 평가이다. 소련영화 중심의 서술은 ‘주체’ 이전 여전히 건재했던 소련영화의 영향을 파악할 수 있게 해준다. 아울러 소련에서 형식주의로 혹독한 비판을 받았던 에이젠슈테인의 <10월>에 대한 극찬은 소련이나 북한의 관제적 시각과는 거리가 있는 것으로 보여 주목된다. 콘텍스트 분석에서는 이러한 상대적 자율성이 1967년의 대격동 속에서 어떻게 산산조각 났는지를 탐구한다. 그때까지 꾸준히 실렸던 외국영화의 소개는 사라졌으며, 영화와 관련 없는 정치 선전 글과 김일성에 대한 노골적인 찬양문이 실렸고, 영화인들은 김일성에 충성을 맹세하는 ‘문예전사’를 자처했으며, 이에 보답하듯 문학예술에 대한 김일성의 ‘주체적’ 교시가 『조선영화』를 도배했다. This study examines an understanding on the history of early world cinema in North Korea in terms of textual and contextual perspectives. This focuses “An Overview on the History of World Cinema”(by Kim Jong-Ho) in North Korea’s film magazine, Korean Film(『조선영화』) in the mid-1960s before so-called “Juche Revolution”(1967). A textual analysis is also divided into three sub-issues. First, it is the part which analyzes films in capitalist societies from the perspectives of Marxist-Leninist aesthetics and their key principle, socialist realism which is differentiated itself from “Juche Realism” today. Second, it is appeal to film form and aesthetics which collide over a dogamtic socialist realism and its principles. In particular, the knowledges and receptions of early Western film theories and aesthetics are different parts from contemporary North Korea which does not approve anything else except for Kim Jong-Il’s film theory. Third, it is an appreciation on descriptions with priority given to Soviet cinema and Sergei Eisenstein. Soviet cinema-centered depiction helps figure out that the influences of Soviet cinema on North Korea have still remained before “Juche.” In addition, a high praise on Eisenstein’s film October which was criticized severely for the reason of formalism draws attention because it is far from the official viewpoints of Soviet Union and North Korea. In contextual analysis, this essay explores how this relative autonomy was shattered in the cataclysmic changes in 1967. The introductions to foreign films which have run steadily in the magazine have faded away, and the political propaganda unassociated with films and the outright praises on Kim Il-Sung were printed in the magazine, Korean Film at the time. Furthermore, filmdom in North Korea thought of itself as “warriors of literature and art”, and in return, Kim Il-Sung’s “Juche” doctrines on literature and art were all over the magazine.
MMT: An Emerging MPEG Standard for Multimedia Delivery over the Internet
Youngkwon Lim,Kyungmo Park,Jin Young Lee,Aoki, S.,Fernando, G. IEEE 2013 IEEE multimedia Vol.20 No.1
<P>Content-centric networking promises more efficient distribution of data through in-network caching and the propagation of content through the network. This networking paradigm poses a number of challenges and new opportunities for more efficient multimedia delivery. The MPEG Media Transport (MMT) standard is being developed to address these needs with specifications for encapsulation, delivery, and signaling, which enable fine-grained content access with uniquely identifiable names for optimized content delivery.</P>
Hybrid interactive data service architecture over T-DMB with mobile network
Youngkwon Lim,Kyuheon Kim,Jechang Jeong IEEE 2010 IEEE transactions on consumer electronics Vol.56 No.4
<P>There have been lots of technical developments in broadcasting field since 1990s. Providing high quality video and audio is one improvement and supporting mobile reception in a high-speed vehicle is another. Terrestrial Digital Multimedia Broadcasting (T-DMB) is one of the successfully deployed technologies to provide mobile broadcasting service. One of the major breakthroughs achieved by T-DMB in addition to robust vehicular reception is a system architecture naturally enabling integrated interactive data services, which is defined by MPEG-4 System architecture composed of Object Descriptor Framework and Binary Format for Scene (BiFS) technology. However, interactive service in T-DMB has two fundamental limitations. First, interactive data service should be always rendered on top of a video due to the T-DMB specification. Second, initial data for interactive service is only received by broadcasting channel. These limitations prevent the implementation of emerging data service recently deployed widely by the smart handheld devices such as personalized data service customized for the user characteristics or location-based data service. Therefore, this paper proposes the architecture of hybrid interactive data service (HIDS) for T-DMB to overcome these limitations by defining a hybrid BIFS, which supports individual scene descriptions delivered from broadcasting and mobile channels, and is accessed from the local memory. This proposed architecture also maintains backward compatibility with the already deployed legacy T-DMB receivers.</P>