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〈학술논문〉 또는 〈응용논문〉 : 나노임프린트공정을 이용한 나노스케일 복합 패턴 형성 및 태양전지 응용
이기중(Ki-Jung Lee),최대근(Dae-Geun Choi),정준호(Jun-Ho Jeong),김기돈(Ki-Don Kim),최준혁(Jun-Hyuk Choi),이지혜(Jihye Lee),이순원(Soon-Won Lee),박성제(Seong-Je Park),김사라(Sarah Kim),이응숙(Eungsug Lee) 대한기계학회 2010 대한기계학회 춘추학술대회 Vol.2010 No.11
본 연구에서는 임프린트 공정에 의해서 제작된 몰드를 이용하여 마이크로-나노의 다양한 패턴 제작 방법과 이를 이용한 마이크로-나노 스케일 복합 패턴 제작기술에 관한 연구 결과 및 태양전지 소자 응용 결과를 소개하고자 한다. 첫 번째로, 마이크로 패턴위에 나노패턴을 제작하여 접촉각 변화를 측정하여 마이크로 구조물위 나노 패턴이 주는 기판 표면 특성변화를 관찰하였다. 두번째로, 기판위 나노 패턴의 선택적 전이를 위한 변수에 대한 분석 실험, 세번째로 패턴 전사 공정의 태양전지 및 전자소자 응용 가능성 실험을 계획 중이다. In this work, we report a fabrication method of complex pattern of micro-nano scale by using nano imprint lithography(NIL) and the solar device application. Micro-patterns were firstly fabricated and then nano patterns were formatted on the micro-patterns. The change of surface property was investigated. Secondly, the variables for selective pattern transfer were studied. Finally, solar cell and electronic device application is planning for future experiment.
이기중(Ki Jung Lee) 서울대학교 비교문화연구소 2011 비교문화연구 Vol.17 No.2
This paper reviews anthropological literature relating to the anthropological study of photographs. It looks at a methodological issues involved in studying photographs as anthropological investigation and classifies its methodologies into four categories. First, it looks at ``historical photography`` as anthropological documents and explores into three kinds of studies in relation to it: photography and anthropometry, anthropological imagemakers (photographers), and photographic image and representation. Second, it deals with photographic works of Bronislaw Malinowski, Franz Boas and Magaret Mead. The anthropological investigation into various photographic cultures is third issue. Finally, the paper introduces ``photo-elicitation`` and elucidates its history, methodology and research samples in the fields of anthropology and sociology.
대빗 맥두걸(David MacDougall)의 <가축들과 함께 살기를(To Live With Herds)>과 "관찰적 시네마 (Observational Cinema)"
이기중 ( Ki Jung Lee ) 한양대학교 현대영화연구소 2012 현대영화연구 Vol.8 No.1
David MacDougall has been a leading figure in the realm of ethnographic film for over four decades and his early film, <To Live With Herds> on which this paper focuses is cited as a classical example of ``Observational Cinema``. This paper firstly examines a background and the main features of observational cinema which has originated in the late 1960s and early 1970s. Secondly it approaches <To Live With Herds> by turning to two themes that appear central to the film. The first theme is MacDougall`s attempt to apply the idea and methodology of observational cinema to the film to depict the traditional pastoral life of Jie society. Second, he uses different textual devices, such as chapters, titles, intertitles and English subtitles, to give a coherent structure in the film and his critical view of the situation which Jie people has been undergoing . The dual structure of the film give it a unique feature of insight into pastoral society in Africa.
<어느 여름의 기록(Chronique d`un ete)>(1961)를 통해서 본 시네마 -베리테(cinema-verite)의 의미
이기중 ( Ki Jung Lee ) 한양대학교 현대영화연구소 2011 현대영화연구 Vol.7 No.2
This paper seeks to identify the meaning of ``cinema-verite`` underlying the documentary film of <Chronicle of a Summer>(1961). Firstly it examines Dziga Vertov`s cinema-verite and compares it with of Jean Rouch`s concept. Next the paper analyzes the meaning of cinema-verite from three different perspectives. First, it examines Jean Rouch`s notion of ``participatory camera`` to elucidate the meaning of cinema-verite. Second, the concept of ``camera as a catalyst`` is applied to debunk what cinema-verite means, Third, the paper approaches the film with special reference to ``self-reflexivity``.
< 뒤돌아 보지마(Don’t Look Back) >의 시각적 연출 전략 연구
이기중 ( Lee Ki Jung ) 한양대학교 현대영화연구소 2019 현대영화연구 Vol.15 No.1
본 논문은 다이렉트 시네마와 로큐멘터리의 대표작으로 손꼽히는 D. A. 페니베이커의 <뒤돌아 보지마>를 집중적으로 다루었다. 본 논문에서는 먼저 다이렉트 시네마와 <뒤돌아 보지마>의 영화적 관계, <뒤돌아 보지마>의 제작 배경, 페니베이커와 밥 딜런의 만남과 이들의 협력적 영화작업과 영화철학을 차례로 살펴보았다. 그리고 <뒤돌아 보지마>에 나타난 시각적 연출 전략을 프롤로그, ‘비(非)개입’과 ‘보여주기’로서의 영화방식, 인터뷰의 미학과 정치학을 통해 고찰하였다. <뒤돌아 보지마>는 처음부터 딜런과 페니베이커의 연출 장면으로 시작되며, 이어지는 장면들은 ‘삶을 연기하는’ 딜런을 보여주고 있다. 영화에 나타난 딜런은 훌륭한 ‘연기자’라고 할 수 있다. 영화는 이러한 그의 모습을 무대와 무대 밖을 통해 보여준다. 특히 딜런의 페르소나는 미디어와의 인터뷰에서 더욱 더 잘 드러난다. 한 마디로 <뒤돌아 보지마>는 딜런에게 카메라 앞에서 연기할 기회를 제공하고, 페니베이커는 딜런의 퍼포먼스를 카메라를 통해 보여주는 ‘공모자’로서 역할을 하고 있다. 페니베이커의 <뒤돌아 보지마>는 초기 다이렉트 시네마의 저널리스트적인 충동으로부터 벗어나 새로운 재현의 모습을 보여주고 있으며, 이러한 영화적 방식은 1960년대의 록 다큐멘터리로 이어진다는 점에서 <뒤돌아 보지마>는 다이렉트 시네마와 록 다큐멘터리의 선구적인 작품으로 손꼽힌다고 할 수 있다. direct cinema and rokumentary. In this paper, I first looked at the cinematic relationship between direct cinema and < Don’t Look Back >, the background of its filmmaking, the encounter between D. A. Pennebaker and Bob Dylan, their collaborative works and their philosophy of film. And then I analyzed the film from the aspects of prologue, ‘non-intervention’ and ‘showing’, and poetics and politics of interviews in < Don’t Look Back >. The film begins with the unique style of prologue which shows the co-working relationship between Bob Dylan and D. A. Pennebaker. Bob Dylan is a great ‘actor’. The film alternates his appearance through onstage and backstage. The persona of Bob Dylan is even more evident in interviews with the media. In a word, < Don’t Look Back > gives Bob Dylan an opportunity to act in front of the camera, and D. A. Pennebaker serves as a ‘co-conspirator’ to show Bob Dylan’persona throughout the fim. In summary, D. A. Pennebaker’s < Don’t Look Back > shows a new form of filmic representation moving away from the journalistic impulses of early direct cinema, and this cinematic approach leads to a rock documentary of the 1960s and is thereby considered to be one of the pioneering works of direct cinema and rock documentaries.
이기중(Ki Jung Lee) 서울대학교 비교문화연구소 2013 비교문화연구 Vol.19 No.1
Timothy Asch is well-known for the film series about the Yanomamo Indians of Venezuela. After finishing the Yanomamo Project with anthropologist Napoleon Chagnon, Timothy Asch devoted his professional energies to researching and film-making in Indonesia from 1976 to 1982 and made 8 ethnographic films in three different societies(Bali, Roti, Flores) in collaboration with three anthropologists. The films on Indonesia, especially ``Tapakan Series`` on Bali are the best known and mostly widely screened in the anthropological classes. This paper examines Timothy Asch`s Indonesian ethnographic films while focusing on <A Balinese Trance Seance> and <Jero on Jero> among the ``Tapakan Series.`` The paper firstly sketches the background of Timothy Asch`s ethnographic film-making in Indonesia. Secondly, it gives informations about his intention, plan and methodology of ethnographic research/film-making in ``Tapakan Series`` and also examines how he attempted to differentiate it from his ``Yanomamo films.`` Thirdly, the paper analyzed the texts of <A Balinese Trance Seance> and <Jero on Jero> in terms of three perspectives: (1) ``film-making of ritual``; (2) ``informant feedback``; (3) ``opportunistic film.``
로버트 가드너(Robert Gardner)의 영화적 방법론 -<축복의 숲(Forest of Bliss)>(1986)을 중심으로-
이기중 ( Ki Jung Lee ) 한양대학교 현대영화연구소 2013 현대영화연구 Vol.9 No.1
Robert Gardner is one of well-known documentary filmmakers and has produced many film about non-western societies from <Dead Birds> in the early 1960s to <Ika Hands> in the late 1980s. This paper focuses on Gardner`s one of latest feature-length documentary films, <Forest of Bliss>(1986) which deals with ``death industry`` and its cultures in the city of Benares, India. The paper begins with an analysis of narrative structures of the film in the perspective of ``city symphony`` and main figures in the film. Next it explores the symbolism of the film in terms of ``symbol-making of everyday material``, ``prelude, convergence of symbols and summary shot``, ``editing for symbolic meaning``, and ``symbolism of sound``. Finally the paper briefly reviews scholars` critical debate of the film and assesses <Forest of Bliss>`s relevance to the realm of ethnographic film.