합금철제조공정에서 발생되는 분진의 물성

신강호,송영준,현종영,조영근,서순일,박찬훈,조동성,Shin, Kang-Ho,Song, Young-Jun,Hyun, Jong-Yeong,Cho, Young-Keun,Suh, Soon-Il,Park, Charn-Hoon,Cho, Dong-Sung 한국자원리싸이클링학회 1999 資源 리싸이클링 Vol.8 No.3

합금철 제조공정의 분진에서 재활용하기 위한 자료를 얻을 목적으로 분진의 압도와 형상 그리고 자성에 따른 조성을 조사하였다. 고탄소폐로망간과 실리콩망간의 제조공정에서 발생되는 분진의 메디안경은$6.0\mu\textrm{m}$이고, Ca함량이 25.4% Mn함량은 13.5%이며, Mn 성분은 주로 합금철의 산화물로 존재하기 때문에 입도분급이나 자력선별로는 망간의 품위나 실수율을 높이기 어려울 것으로 판단된다. 그러나 중 저탄소페로망간 제조공정의 분진 중에서 Bag Filter에 포집되는 분진은 $0.2~2\mu\textrm{m}$의구형이고, Mn 함량이 63.1%이며, 주로 $Mn_3O_4$로 존재하기 때문에 망간을 재활용하기 위한 좋은 원료가 될 수 있다. 또한 Cooler에 포집되는 부진의 메디안경은 $5.8mu\textrm{m}$이고, $13\mu\textrm{m}$를 기준으로 크게 2게 입단으로 나누어지며, 미립자의 입단에 $Mn_3O_4$의 구형입자가, 조립자의 입단에는 $Mn_{x}Fe_{y}O_{z}$의 속이 빈 구형입자와 ) $Ca(OH_2)$의 입자들이 농집되는 경향이 크므로 입도분급이나 자력선별로 Mn의 품위를 높일 수 는 있으나 실수율이 46%에 지나지 않았다. The study investrgated the properti es of lh$\xi$ dust~ from felToalloy manufacture, The chemical composition, composItron material, particle size and shapes of the bulk dust, sized dust and magnetically separated dust were llivestigated. As the result, we s suppose that the dust from HLgh Carbon Fenomauganesc Manufacturing Process is not sufficient as soource material of Mn because of the low Mn conteut (13.5%) aud complicated composition material The dust from Bag Filter of AOD Process is m mainly made up of $0.2~2\mu\textrm{m}$ $Mn_3O_4$ (Hausmatmite) particle in spherical shape and the Mn content is 63.1%. The dust from Cooler of AOD Process is mainly made up of coarse $Ca(OH)_2$ Mn, $Fe_yO_2$ $SiO_2$ and fine $Mn_3O_1$.

신영균의 캐릭터와 연기 스타일 연구

신강호(Shin Kang Ho) 한국영화학회 2012 영화연구 Vol.0 No.53

In the 1960s, concentrated in the early 1970s, during the activity period shin young-kyun own character and acting style of the settlement went by. And that movie works critical and commercial success enjoyed fueling the honor as top stars. Thick line, strong, somewhat charismatic inner smoke also unfold in the 1960s was a shin young-kyun star persona that represents the icon of the era was launched. In terms of the character in the movie as a star in the film"s image shin young-kyun character in the sense that a perfect match with the characteristics of "innate learning which might be called". Crude and rough but reliable, but graduated from college so vividly expresses the excitement of masculinity will not be able to pay. Shin young-kyun"s style of acting against the feelings of the bending takes place in that big and strong male role in implementing dramatic actor were unrivaled. On the other hand, he"s strange, the Korean modernity exists in a variety of social, historical and psychological problems tend to have put pay. He played the character in the movie unfold in a manner that shows the personality of its own unique social smoke pipes or movie is also about the outcome of his vision. In that sense, he was not his intention, regardless of the roles they end up with some way that contemporary society will be able to reveal the unconscious. Shin young-kyun persona of a star with the times, icons, and it soon studios Korea political, social, economic, cultural and art historical context, such as that point is not to have to be considered.

이만희 감독 스타일 연구

신강호(Kang- Ho Shin) 한국영화학회 2003 영화연구 Vol.- No.22

Film style is a film' s systematic and significant use of techniques of the medium. Those techniques fall into broad domains: mise en scene(staging, lighting, performance, and setting); framing, focus, control of color values, and other aspects of cinematography; editing; and sound. Style is, minimally, the texture of the mill s images and sounds, the results of choices made by the filmmaker(s) in particular historical circumstances. Style bears upon the single film. We can of course discuss style in other senses. We may speak of individual style. We may talk of group, the style of Soviet Montage filmmaking or of the Hollywood studios. In either case we will be taking, minimally, about characteristic technical choices, only now as they recur across of a body of works. We may also be talking about other properties, such as narrative strategies or favored subjects or themes. Nonetheless, recurring characteristics of staging, shooting, cutting, and sound will remain an essential part of any individual or group style. Analysis of films can proceed in two directions, and these are far from equivalent, Most importantly, films can be analysed in terms of their construction and their relation to their makers. Less importantly, films can be analysed in terms of response of the spectators. Of course film-makers also form part of the audience, and they are the part that is capable of the fullest response and understanding. It is in relation to them that the film comes closet to being something like a language system. This thesis is a practical analysis of style on director Lee Man Hee, Therefore the purpose of this thesis is to study of the style of Lee Man Hee, and also of the stylistic quality in context of korean film history.

하길종 영화의 스타일 분석

신강호(Shin Kang-Ho) 한국영화학회 1999 영화연구 Vol.- No.15

This thesis is a practical analysis of style on director Ha Kil-Jong. Therefore the purpose of this thesis is to study the stylistic quality in context of Korean film history. The method I research this thesis is the neoformalism to analysis of style on Ha Kil-Jong. Neoformalism treats many of what we usually suppose to be meanings as formal elements, rejects the distinction between form and meaning. Meaning is not the ultimate result, but one of the formal constituents of the work. Meanings of the work are not always presented explicit. Usually implicit meanings cued by the work drive viewers to the level interpretation. But there are considerable differences between the neoformalist approach and most of critical approaches, which lay emphasis on interpretation as a critic's central activity. For an neoformalism, interpretation is one of many tools, and meaning is one of many devices. Ha Kil-Jong directed seven films between 1972 and 1979. In the 1970s, Korean directors didn't have the essential freedom of expression and they were deprived of their rights of production under the suppression of the autocratic regime. Hence, the theme and style of Ha Kil-Jong's films were changed by degrees, the world of his films is not obvious. Besides he gave up his own world of works and turned to commercial film in order to make films in succession. And in patterns of styles of Ha Kil-Jong's films are so similar that these are changed to conventional. Consequently, the effort of Ha Kil-Jong dreamed of auteur to raise the level of Korean films was nothing but his ideal, and he died before he could finish his dream for a short decade.

1990년대 할리우드 블록버스터 전쟁

신강호 ( Kang Ho Shin ) 한국영화교육학회 2004 영화교육연구 Vol.6 No.-

〈미몽〉, 〈반도의 봄〉의 영화 스타일 분석

신강호(Shin Kang Ho) 한국영화학회 2007 영화연구 Vol.0 No.33

The purpose of this paper is to analyse the style of Sweet Dream, Spring of Korean Peninsula. Sweet Dream shows a flair for editing that focuses on in-depth mise-en-scene and montage. Following a character's lines with a corresponding insert image is a characteristic common to films produced during the colonial period. As the camera is fixed to one spot most of the time and focus is usually on the characters' dialogue and their meticulously planned blocking, takes are generally quite long. What catches the eye is the directors' attempt at in-depth direction. The dialog scene in Sweet Dream do not even divide shots for each character, let alone utilize shot reverse shots. The scenes usually cut from a long shot to a full or bust shot and then simply remain in place. In contrast, Spring of Korean Peninsula shows that the filmmakers finally began segmenting their shots in dialogue scenes with more precision. Using Hollywood classics as the benchmark, Spring of Korean Peninsula displays the greatest sophistication. The shots are segmented or connected with natural ease whether in the establishing shots or reverse shots in dialogue scenes, making it much easier to detect the influence of Hollywood classics compared to other films. Of course, the overlapping of similarly angled shots still remains. The Hollywood classics' style is not the only yardstick available for analyzing films. This Could mean the Soviet-style montage of constructing meaningful links between shots as a cinematic art of expression and the Japanese films' style of utilizing cinematic space with greater depth than their Hollywood contemporaries may provide a more suitable frame of reference for interpreting Korean films from the colonial era.

한형모 감독 스타일 연구 ― 1950년대 영화를 중심으로 ―

신강호 ( Shin Kang-ho ) 전북대학교 인문학연구소 2020 건지인문학 Vol.0 No.27

Han Hyung-mo was a top box office director in the 1950s and a pioneer in Korean film technology, who was adept at every process of filmmaking, from filming, directing and editing. This study looked at five films directed by Han Hyung-mo in the 1950s through style analysis on how classic Hollywood styles at that time were reproduced in Korean popular movie or genre films. Han Hyung-mo is a director who best reflected Hollywood styles and entered university in Korean films of the 1950s, compared to other Korean films of his time. Han Hyung-mo’s works showed a relatively high standard of narrative form and style. Given that the Korean films of the 1950s consisted of narrative form and style centered on storytelling, the perception of style can only be seen as being driven by the director’s own consciousness. Therefore, Han Hyung-mo's style research could contribute to later research on Korean film styles. It will also give you a glimpse of how Korean popular movie, or genre, styles were being reproduced in the film at that time.

천만 사극 영화의 흥행 요소 분석 연구

신강호(Shin, Kang Ho) 동국대학교 영상미디어센터 2016 씨네포럼 Vol.0 No.24

본 논문은 천만 관객을 동원한 역대 한국 영화들 가운데 사극 영화인 <왕의 남자>, <광해>, <명량>의 흥행 요소를 고찰해보았다. 특히 이 세 편의 영화는 사극이라는 카테고리로 묶이긴 하지만 영화의 주제나 소재, 스타일이나 색깔이 모두 달랐기 때문이다. 영화 흥행은 제작비, 제작자, 장르, 배우와 감독의 스타 파워, 스토리, 관객 평가, 전문가 평가, 마케팅, 상영등급, 개봉 시기, 개봉 스크린 규모, 영화제 수상실적 등 여러 가지 요인들이 있다. 이렇게 다양한 영화 흥행 요소 가운데 본 논문은 특히 팩션 사극, 스토리와 캐릭터, 영화 스타일, 전략적 개봉과 이슈 마케팅이라는 측면이 이 세편의 영화에서 주요 흥행 요인으로 작용했다는 관점에서 논의를 전개했다. 천만 사극을 이룬 흥행 요소 가운데 우선 역사적 사실의 근거 속에서 허구의 조합인 팩션 사극이라는 점을 꼽을 수 있다. 그리고 전 세대를 아우르는 쉽게 접근할 수 있고 재미와 유머가 공존하는 대중적 스토리 구조를 활용하고 있다. 캐릭터의 경우 가장 두드러진 공통점은 실제 존재했던 인물을 통해 작품의 주제와 의도를 부여한 캐릭터로 대중들의 공감대를 유도했다. 내러티브를 어떻게 시청각적으로 표현하는 가에 대한 영화적 기법들을 말하는 영화 스타일적인 측면에서 각각의 영화들은 나름대로 차별성이 있다고 파악된다. 또한 영화의 개봉시기와 당시의 사회문화적 분위기, 정치적 상황 등이 그 영화가 가지고 있는 특성과 연관되어 흥행 요인으로 작용했다. 이 세편의 영화는 물론 동일한 시기에 개봉한 것도 아니고 천만 흥행을 일군 요인에도 차이가 있다. 산업적으로 중요한 흥행요인이기도 한 상영 횟수 독과점을 포함한 배급, 상영의 불공정 관행에 대한 분석도 중요하다. 하지만 그러한 논의는 별개의 주제로 다루어야 할 방대한 내용으로 사료된다. 다만 본고에서는 보다 큰 틀에서 천만 관객을 이룬 한국 사극 영화로서의 공통점에 주목하고자 했다. 그런 관점에서 흥행에 성공하지 못한 여타 다른 팩션 사극들과 비교해 볼 수 있기 때문이다. This study focuses on analysis of the Elements of Box Office in the Historical Flim, 10-million audience mark. The results are as follows: <King and the Clown>, <Masquerade>, <The Admiral: Roaring Currents> are all faction-historical film. The plot putting individual facts together a story is made by scenario writer"s imagination. Because scenario writers invent the plot as much as discover it on the way of reading historical sources, every historiography is ultimately a ‘faction’ to combine fact and fiction. The acceptance faction is essential to the formation of the historical film convention and has an important meaning in the development of historical fiction narrative which reign Korean film narrative until now as one of the most powerful narrative formula.; this suggestion contains social implication of lives worthy of living and makes a strong impression on a numerous spectators. Their popular story, which has strong power of drawing audience, and characters based on actual people both contributed to the success of the films. The reason these movies could achieve 10 million audience is that they had stories and characters which could win the whole generation"s heart. Character plays a major role in forming of emotional responses from spectators by communicating narrative related to core meaning which film production uses to develope the film. This study also discovered that differentiated film style. Battle scene is the most core part of Roaring Currents, three camera sights are complexly intersected. Release with certain strategy, usage of issue marketing played another role for the movies success. However, with the multiplex and wide release strategy, the polarization of Korean movie"s Box Office performance.

<티켓>: 리얼리즘의 형식적 읽기

신강호 ( Kang Ho Shin ) 한국영화교육학회 2005 영화교육연구 Vol.7 No.-

영화 <청춘의 십자로>의 스타일 연구

신강호 ( Kang Ho Shin ) 한양대학교 현대영화연구소 2009 현대영화연구 Vol.5 No.1

In this paper, I attempt to analyse the style of <A Crossroads of Youth>. Although there has been hardly any extended writing about the historical development of film style, with or without its relation to film technology. The use of a film makes of the film`s style cannot be studied apart from the film`s use of narrative form. We shall find, again and again, that film style interacts with the formal system. Often film techniques support and enhance narrative form. In a narrative film, style can function to advance the cause-effect chain, create parallels, manipulate story/plot relations, or sustain the narration`s flow of information. But also, film style may become separate from narrative form, attracting our attention in its own right. Some uses of film technique can call our attention to patterns of style themselves.