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.

진실 앞에 선 사회적 현실과 도덕적 불안, 폴란드의 도덕적 관심의 영화(1976-1981년)

정태수 ( Tae Soo Chung ) 한양대학교 현대영화연구소 2009 현대영화연구 Vol.5 No.2

As for Polish cinema, it was a primary aim to describe ironies of Poland society and history. Like other cinema from socialist countries, Polish cinema devoted itself to diffuse ideology and ruling party`s idea. However, on the other hand, Polish cinema also played a role as a lookout man for Poland by closely describing its social and historical problems. It was Polish filmmakers` understanding of cinema as a social medium that made it possible to produce the social and political films in the history of Polish cinema. They claimed that the aim of cinema lies in revealing truth relying on social reality. By looking at a range of historical occasions, they pointed out the importance of the identity and independent of Polish cinema. More significantly, they made continuous attempts to make their cinema a unique medium to contribute itself to the historical progress of Poland. It is the so-called `cinema of moral concern` that became a typical example of these aspects of Polish cinema, which refers to the films between 1976 and 1981, the most productive period of the history of Poland cinema. This paper looks at the social and historical role the `cinema of moral concern` played in reconstructing Polish society and history between 1976 and 1981. During this period, when Polish society encountered crucial political and moral crises, and social and historical ironies, Polish cinema examined causes for these problems and revealed them, and above all, tried to return Poland to its original place in its history. This essay, at the same time, also shows that the `cinema of moral concern` achieved a certain aspect of the nature of film.

PSTN-PSDN 연동 장치의 유지보수 및 운용관리

정태수(Tae-Soo Chung),박희용(Hee-Yong Park),이현태(Hyun-Tae Lee),박경세(Kyung-Sae Park) 대한전기학회 1987 대한전기학회 학술대회 논문집 Vol.1987 No.7

모든 것에 우선한 자본의 패권적 가치와 남북분단에 대한 새로운 인식 -1998년에서부터 2007년까지의 한국영화

정태수 ( Tae Soo Chung ) 한국디지털영상학회 2009 디지털영상학술지 Vol.6 No.1

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.

전통적 사회구조의 비판과 현대화와의 변증법, 1950년대 일본 영화

정태수 ( Tae Soo Chung ) 한국영화교육학회 2006 영화교육연구 Vol.8 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.

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

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.

일상적 현실에 대한 풍자와 비판, 창작수법의 혁신, 체코슬로바키아 영화(1963-1968)

정태수(Chung Tae-Soo) 한국영화학회 2011 영화연구 Vol.0 No.50

This paper explores the Czechoslovakian films from 1963 to 1968, which I call the “innovation of Czechoslovakian cinema” in that they were original and creative. What became the bases for the Czechoslovakian cinema innovation were the political, cultural, and artistic values that emerged in the establishment of “The Socialism with a Human Face.” Among others, what was at the centre of these values was to escape from the existing socialist realism. One thing that became a symbolic, significant beginning point of this work of escaping was the reexamination of Kafka’s work as not being capitalist and decadent. This became a way of overcoming the socialist realism that had not allowed any approach towards everyday realities as well as a cause for the (re)discovery of the Czechoslovakian avant-garde culture and its application into present matters. As a result of them, as this paper will argues, the two key words of “everyday reality” and “avant-garde” came to characterize the Czechoslovakian films of this period. First, the exploration of everyday realities was mainly found in the works of Milo? Forman and V?ra Chytiloa. This paper shows that their representations of everyday realities not only includes Czechoslovakia’s political and social realities, but also reveals various aspects that were so invisible that they only can be seen throughout laugh and satire and irony. In addition to this, this realist representation of everyday life played an important role in showing the ways in which various, refracted relations both between individuals and between individuals and society in the history of Czechoslovakia, such as anxiety and tension, were caused and exploring how the real and ideal meet together. Second, the paper argues that the reevaluation of Kafka that brought back the tradition of the Czechoslovakian avant-garde culture of the 1920 had a significant impact on the works of Chytilova and Jan N?mec; especially, the stream of consciousness, independence of the screen, and destruction of narrative that frequently appeared in their films played an important role in shaping the “innovation of Czechoslovakian cinema”.