Whole Lung Irradiation for Metastatic Lung Malignancy

정태수,Chung, Tae-Soo The Korean Society for Radiation Oncology 1984 Radiation Oncology Journal Vol.2 No.1

1983년 9월부터 1984년 4월 사이에 고신의대 치료방사선과교실에서 방사선치료를 받은 609명의 환자중 4명의 전이성폐암 환자가 전폐 방사선조사를 받았다. 이들 4명의 환자 전원이 방사선치료 후 흉부 X-선 상에 종괴의 축소를 가져왔고 전이성 폐암으로 인한 증상을 나타낸 2명의 환자에서 지대한 증상의 경감을 가져왔다. 저자의 이면 연구결과 및 문헌조사에 의하면 다발 전이성 폐암의 경우 대부분이 전신에 전이된 종양으로 간주하여 전신화학요법을 하는 것이 대부분이지만 경우에 따라서는 전폐 방사선조사로도 좋은 Palliative효과를 가져올 수 있다고 하겠다. The author reviewed four cases of multiple lung metastases who were treated by whole lung irradiation alone for palliation. All patients tolerated the treatment well without complication. Two patients who had symptoms from pulmonary metastases had subjective relief of symptoms and all four patients had objective regression of lung metastases on repeat chest X-rays. Present report and review of literature support that some selected patients with multiple lung metastases can be benefited by whole lung Irradiation. However, systemic chemotherapy should be main modality of treatment for this kind of disseminated disease whenever possible.

현실과 표현의 일체화, 이탈리아 네오리얼리즘 영화 (1942~1955)

정태수 ( Tae Soo Chung ) 한국영화교육학회 2005 영화교육연구 Vol.7 No.-

미국적 가치의 정체성 혼란, 필름 느와르 : film noir, 1941~1958년

정태수(Chung Tae Soo) 한국영화학회 2006 영화연구 Vol.0 No.29

Under the age of the Second World War and Cold War, Film Noir appeared transfigured into characters and visual styles patently different from the preceding figures of American cinema. The woman, as it were, was transfigured from a woman of virtue into a image of the femme fatale, the man that had been the symbol of strong order in American family and society into immoral character, the one falling into desire and then facing death. In addition, a family, which should be protected, was showed figures not embossing the importance of its existence, and complete narrative structures of American cinema were transfigured into structures entangled without a chronological order. These transfigurations are cinematic marks and phenomena that are revealed by Film Noir, which superficially stands for and expresses confusions about American value and identity, unlike the Classical Hollywood cinema; Going through the Second World War and the Cold War, Film Noir reflects them as it stands. But, Various figures appeared in Film Noir must be distinguished from the political flows of the United States which would secure a traditional and essential identity of American society value through different historical events, such as McCarthyism, and disarrays of American identity and value under the Second World War and Cold War. Although Film Noir are related to such confusions resulted from the Second World War and Cold War, it does not initiate fundamental problems and issues about these confusions. In conclusion, Film Noir is a unique trend of American cinema basing on and corresponding with superficial social phenomena menacing the traditional American value and identity, passing through the Second World War, Cold War, and Great Slump of the 1930s.

정치권력의 변화와 영화, 해빙기의 소비에트 영화(1956~1966)

정태수(Chung Tae Soo) 한국영화학회 2007 영화연구 Vol.0 No.33

This paper presents the trends of films during the Khrushchev Thaw and aims to examine the relationship between the changes of political power and emerge of a new method of film creation. In the history of Soviet cinema, the Khrushchev Thaw means its critical and methodological changes carried by the films produced from 1956 to 1966. The political change of the Khrushchev Thaw did not emerge until Khrushchev became first secretary of the Central Committee and denounced Stalin's brutal despotism in his famous "secret speech" before the Twentieth Party Congress in February 1956. Khrushchev's changes against his former boss ranged from self-glorification to political mass murder, and he roundly indicted Stalin's promulgation of a "cult of personality". It is significant to note that Khrushchev's de-stalinization had a huge impact on artists. Khrushchev emphasized the return to Marxism and Leninism. It concludes that in the cinema during Khrushchev Thaw there appeared a lot of film describing Lenin's life and activities and characters embodying Marxism-Leninism. In addition, this paper presents that films in those days emphasized an individual and reality in one's life. These new methods of film-creation during Khrushchev Thaw was a result of in-depth examination and description on an individual and reality which was repressed in Stalin regime. In conclusion, this paper show that political changes carried by de-stalinization process caused the emergence of new methods of film-creation during Khrushchev Thaw.

1920년대 아방가르드 영화 : 현실재현으로부터의 이탈

정태수(Chung Tae Soo) 한국영화학회 2003 영화연구 Vol.- No.22

Avant-garde film in the 1920 has important historical value in the film history. That was separation from representation of reality in the film expression method. By that time, Because of a limitation of the film expression method, film was wrapped in a film existence as a creative target. At that time, The film was obliged to accept a new value of European history and applied its to the film expression method. That was separation from classical film expression method. With the result that film concentrated on interiority and totalitarity of man and objects. The Avant-garde film in the 1920 has the mange of film expression method, that is contained value of contemporaneity. Therefore, When The Avant-garde film in the 1920 has been under a cloud since its existence in the context of film history, It is very importance tendency in the film history as a object of creation, origination.

역사적 정체성 탐구와 파시즘에 대한 우려, 뉴 저먼 시네마(New German Cinema, 1962-1982)

정태수 ( Tae Soo Chung ) 한양대학교 현대영화연구소 2008 현대영화연구 Vol.4 No.1

기성사회에 대한 저항, 작가주의와 할리우드 상업주의와의 결합, 뉴 할리우드 시네마(1967-1975)

정태수 ( Tae Soo Chung ) 한국디지털영상학회 2008 디지털영상학술지 Vol.5 No.2

In U.S history, the period of the 1960s to 1970s, when the New Hollywood Cinema emerged and ended up with more conventional modes of production, was one in which American moral value and justice was crumbled and confused; for example, the civil rights struggle, John F. Kennedy`s, the 35th President of the United States, assassination in1963, U.S involvement and withdrawal on the Vietnam War and so forth. Facing these social upheavals, younger generations became came to realize that the American promise became little more than conservative social norms. That is, the American dream, which can be described as a brief in freedom that allows all citizens and residents of the United States of America to achieve their goal in life through hard work, began to collapse. This internal paradox was revealed by the mass demonstration raised by the postwar generation who came of age at that time. Their rebellion soon created a counter culture and the idea of New Left. The counterculture revolution had a great influence on Hollywood product which was falling behind the rest of the world-aesthetically, commercially, and even technologically. Hollywood brought the rebellion of the postwar generation into the screen. Hollywood movies began to reflect their anti-hero behavior against the political conservatism of the Cold War period, the U.S government`s extensive military intervention in Vietnam, their struggle for the civil rights. In this process, particularly, `auteur theory` in America developed by Andrew Sarris became one of commercial forces for sluggish Hollywood. Hollywood rested on the counter-culture revolution, `auteur theory`, and young directors to overcome its sluggish power among world movie industry. However, this new wave in Hollywood ended up with its returning to more conventional modes of production. In the year 1973 when the Vietnam war ended, American society was turning into another political conservatism and in Hollywood, a new censorship of movies was restructured. In 1975, the enormous popular success of Jaws restored Hollywood`s faith in big-budget, mass-appeal feature. This success led to marketing campaigns designed to ensure film`s success. This trend implies that the New Hollywood Cinema no longer was able to exist and moreover, that the success of Hollywood movies afterwards were not associated with the social and political problems of America. The New Hollywood Cinema produced unprecedented new films based on auteur theory and Hollywood commercialism as well.

전통적 사회구조의 비판과 현대화와의 변증법, 1950년대 일본 영화

정태수 ( Tae Soo Chung ) 한국영화교육학회 2006 영화교육연구 Vol.8 No.-

1970년대 남, 북한 영화 비교연구

정태수(Chung Tae Soo) 한국영화학회 2004 영화연구 Vol.0 No.23

On December 27th 1972, in South Korea, Park Jeong Hee was elected as president from the Tong-Il-Chu-Che-Guk-Min-Hae-Ie and the Constitution for Revitalizing Reform was announced. On December 25th 1972, North Korea also announced a new constitution and Kim-Il-Seong became the chief. By chance both South and North Korea's power structure has reorganized in the same period. How could this kind of control system under one person take place? The cause can be found in the world's situation such as the end of the cold war. The change of the world's situation was a threat to the people in power who retained their power through showing hostility towards the ideology that differed from theirs. So the South and North powers seemed to relieve tension between themselves, but in the inside they were trying hard to retain their power structure and ideology. Especially to make the Yoo-Shin administration solid they spread out the anticommunist ideology and had do justify their political power. In the 1970's most of the policies regarding cinema was to support the Yoo-Shin system. As a result various policies and systems regarding cinema were established. All the policies regarding cinema during the 70's Yoo-Shin administration period including inspections had the aim of marketing the administration and to dull the criticism. Therefore the anticommunism movies, Sae-Ma-Eul movies, movies for publicity and the various commercial movies that dulled the criticism were all influenced by the 70?s policies to stable Park Jeong Hee's political power. In the 1970's North Korea also used cinema as a way of strengthening Kim-Il-Seong's political power. In 1967 they went through political conflicts and house cleanings against the Kap-San party, and the change of the diplomatic policies between Soviet and China on the Korean peninsula made Kim-Il-Seong to solidify his power and pursuit new characteristics in politics and society. The goal was to give Kim-Il-Seong absolute power and make Kim-Jeong-Il the successor and to do that they spread out the Chu-Che theory, To strengthen the Chu-Che theory, North Korea needed systematic support on their culture and art theories and policies, That was to make their literary art theories based on the Chu-Che theory. Thus most of the movies made in South and North Korea during the 1970' s was to cope with the radical change in the worlds situation by emphasizing race and guarding the system. It justified Park-Jeong-Hee and Kim-Il-Seong's effort to solidify their power. To strengthen the power structure new theories and policies were demanded strongly and to spread them out cinema was used effectively. Thus despite the characteristics, of South and North Korean cinema in the 1970's, differ in content and form, the goal that cinema was used to solidify each countries political power is similar and the features and characteristics of those movies were established in this historical transition period.

역사 속에서 새로운 창작의 혁신을 찾다 -1984년에서부터 1989년까지의 중국영화-

정태수 ( Tae Soo Chung ) 한양대학교 현대영화연구소 2009 현대영화연구 Vol.5 No.1

The Chinese cinema from 1984 to 1989 was certainly different from that of the previous period based on the conventions of classical revolutionary realism which had remained dominant in the context of Chinese films until the beginning of the period. It is Deng Xiaoping`s open-door policy of the late 1970s that is the underlying reason for the change. The policy gave rise to a revolution in the classical revolutionary realism which had been formed throughout the Cultural Revolution after the Communist take-over in 1949. It criticized Mao Zedung`s ideology and revolutionary class struggle. It also had a significant influence on the arts and culture policy of the time and raised radical changes. From the late 1970s director-centered filmmaking gradually appeared. As a result, a variety of themes, historical evens, and modernized figures of China came to move into the centre of Chinese arts and culture. Among others, it is the Roots movement that exemplified the changes. The Roots movement is a cultural and literal movement to search for Chinese identity and roots emphasizing local and minority cultures and began in about the year between 1982-1984. It underlaid the Chinese cinema from 1984 to 1989. Therefore, many of the Chinese films of this period reflected the reconstruction of that identity that the movement searched for. Especially, many of directs of the time paid attention to contemporary literature and painting which was not only inspired by the Roots movement. They mainly adapted ideas and narratives from the literatures, and the visual method of the paintings of the time. Their efforts was to restore the Chinese own identity and aesthetic ideas and forms that had been destroyed and forgotten. They came to go beyond the conventions of classical revolutionary realism and began to look at the Chinese history and present from the various perspectives. They were new films which had not been able to be shown in the history of Chinese cinema until the time. This new way of filmmaking was opened by a series of directors who are grouped into the Fifth Generation, Zhang Jinzhao, Chen Kaige, Zhang Yimou, Huang Jianxin, and Tian ZhuanZhuang. The cinema of the time, however, were shaped not only by the Fifth Generation directors, but also by the Fourth Generation directors, such as Wu Ziniu, Ling Zifeng, Huang Jianzhong, Wu Tiangmin, Xie Jin, and Xie Fei. Their works cannot be excluded when examining the Chinese cinema of this period. It is a limited and narrow perspective to devote the Chinese cinema of the period to the Fifth Generation. This essay examines the underlying reasons for overcoming the viewpoint of representing the history of Chinese cinema from 1984 to 1989 as the Fifth Generation.