폐경 전 여성의 비만이 자율신경계 활성도 변화에 미치는 영향

김대필 ( Dae Feel Kim ),금동호 ( Dong Ho Keum ) 한방재활의학과학회 2006 한방재활의학과학회지 Vol.16 No.1

Objectives : This study was designed to evaluate the influence of obesity on autonomic nervous system activity. Methods : This clinical study have been carried out with premenopausal 59 women that entered Dong-Guk university Bun-Dang oriental medicine hospital from January, 2004 to May, 2005. 59 women were divided into 27 women non-obese group(<BMI 25) and 32 women obese group(.BMI 25). Results : 1. MHRT, SDNN, RMSSD which obtained by time domain analysis were significantly decreased in obese group. 2. TP, LF, HF, LF/HF ratio which obtained by frequency domain analysis were decreased in obese group, HF was significantly decreased but othres were no significant differences between non-obese group and obese group. Conclusions : These results suggest that both sympathetic and parasympathetic activity were decreased in obese premenopausal women.

김기덕 감독의 영화 〈파란대문〉에 나타나는 미학적 특징과 관객의 새로운 역할

김금동(Kim Keum Dong) 한국영화학회 2005 영화연구 Vol.0 No.25

The purpose of this study is to analyze the film-structure, new role of the viewer and the aesthetic of Kim Ki-duk's Film 〈The Birdcage Inn〉. His Film has the following structure-characteristic: 1. The film omits to dearly represent the characters' view of the world. 2. The film describes events realistically and objectively without showing the cause and effect of the events. The structure of the film encourages viewers to fully immerse themselves into the character's view of the world and the cause/effect of the events Based on the strucrure, this film illustrates how ordinary people misunderstand basic human desires as being immoral instincts and injure the sociallayer at the bottom emotionally. The film is still able to represent the changes of the character's view of the world that all humans are equal and apart of an equivalent world. The motif of the film is brilliantly emphasized through the use of uncommon and diversified symbols.

화타협척혈 침자극에 의한 손상 말초신경의 재생효과에 관한 연구

김대필 ( Dae Feel Kim ),박영회 ( Young Hoi Park ),금동호 ( Dong Ho Keum ) 한방재활의학과학회 2008 한방재활의학과학회지 Vol.18 No.4

목 적 : 좌골신경 압좌손상으로 유발된 쥐의 모델을 이용하여 손상된 말초신경의 재생효과에 관한 침자극 효과를 세포분자학적, 조직학적 관점에서 연구하였다. 아울러 손상 좌골신경을 지배하는 척수신경근과 가까운 부위 경혈자극과 좌골신경이 지배하는 말초부위 경혈자극과의 침자극 효과를 비교 연구하였다. 방 법 : 한쪽 좌골신경에 압좌손상을 유발 한 실험쥐들을 1주, 2주로 나눈 뒤 각각에 대해 격일로 1주군은 3회, 2주군은 6회의 침자극을 시행하였다. 손상 좌골신경의 재생효과를 비교실험하기 위해 정상군, 압좌손상만을 유발한 실험군, 침자극 군으로 나누었다. 침자극 군 중 한 군은 손상신경을 지배하는 척수신경근에 가장 가까운 2개의 화타협척혈(EX B2)에 자침(근위부 자극군)하였고, 다른 한 군은 말초부위에 위치한 족삼리혈(ST 36)과 위중혈(BL 40) 2곳에 자침(원위부 자극군)하였다. 실험 후 각각의 조직을 분리하여 Western blotting 혹은 Hoechst staining으로 Gap-43, Cdc2, Cdk2, Erk1/2 단백질을 분석 및 좌골신경의 각 세포수를 측정하였다. Retrograde tracing을 통해 L5의 DRG와 척수에서 말초신경 재생 효과를 관찰하였고, Immunofluorescence staining을 통해 신경돌기 가지의 신장 정도를 파악하였다. 결 과 : 좌골신경 손상 7일된 실험쥐의 근위부와 원위부 침자극군에서 GAP-43와 Cdc2 단백질수준이 향상된 것으로 나타났다. Cdk2 단백질수준은 압좌손상 실험군에서 강하게 증가하였지만 침자극군과 비교해서 별다른 차이는 보이지 않았다. Phospho-Erk1/2 단백질수준은 침자극군에서 향상된 것으로 나타났다. 손상 7일과 14일 된 실험쥐의 손상 원위부에서 슈반세포 수가 증가하였으며 특히 근위부 침자극군에서 더욱 증가한 것으로 나타났다. Retrograde tracing을 이용한 검사 결과 침자극군에서 L5의 DRG와 척수의 염색 세포 수가 증가된 것으로 나타나 침자극이 축삭재생에 효과적인 것으로 나타났다. L5의 DRG 감각신경의 신경돌기 가지 신장정도 및 GAP-43 단백질의 발현 정도를 측정한 결과 근위부 침자극군에서 효과적으로 GAP-43 단백질의 발현 및 신경돌기 가지가 신장된 것으로 나타났다. 결 론 : 본 실험결과 침치료가 손상 좌골신경의 재생에 효과적인 것으로 보여지며, 특히 손상된 좌골신경을 지배하는 척수신경근 주위 화타협척혈에 대한 침자극이 말초부위의 침자극에 비해 신경재생에 더욱 효과적인 것으로 나타났다. Objectives : The present study was performed to investigate whether acupuncture stimulation in the rats affected regeneration properties of the injured sciatic nerve. A differential effect of acupuncture stimulation on the one point near the spinal nerve root controlling sciatic nerve activity and the other point in the peripheral area subordinated by injured nerve was compared. Materials and Methods : Rat sciatic nerves were injured by crush, and the effects on axonal regeneration on injured sciatic nerves were evaluated by acupuncture stimulation at two different regions. In proximal acupuncture stimulation group, acupuncture stimulation was performed on Huatuo Jiaji(EX B2) points located from L5 to S1 vertebral levels to stimulate the nearest spinal nerve root that innervates sciatic nerves. In distal acupuncture stimulation group, acupuncture stimulation was performed on Zusanli(ST 36) and Weizhong(BL 40) points to stimulate at peripheral area dominated by injured sciatic nerves. Acupuncture stimulation was given every other days for 1 or 2 weeks. Sciatic nerve tissues collected from acupuncture stimulation experimental groups, injury control group, and intact animal group were used for protein analysis by Western blotting or Hoechst nuclear staining. To determine axonal regeneration, DiI fluorescence dye was injected into the sciatic nerve 0.5 cm distal to the injury site in individual animal groups and DiI-labeled cells by retrograde tracing were measured in the DRG at lumbar 5 or in the spinal cord. DRG sensory neurons prepared from individual animal groups were used to measure the extent of neurite outgrowth and for immunofluorescence staining with anti-GAP-43 antibody. Results : Animal groups given proximal or distal acupuncture stimulation showed upregulation of GAP-43 and Cdc2 protein levels in the sciatic nerve at 7 days after injury. Cdk2 protein levels were strongly induced by nerve injury, but did not show changes by acupuncture stimulation. Phospho-Erk1/2 protein levels were elevated by acupuncture stimulation above those present in the injury control animals. These increases in regeneration-associated protein levels appeared to be related with increased cell proliferation in the injured sciatic nerves. Hoechst 33258 staining of sciatic nerve tissue to visualize nuclei of individual cells showed increased Schwann cell number in the distal portion of the injured nerve 7 and 14 days after injury and further increases by acupuncture stimulation particularly at the proximal position. Measurement of axonal regeneration by retrograde tracing showed significantly increased DiI-labeled cells in proximal acupuncture stimulation group compared to distal acupuncture stimulation group and injury control group. Finally, an evaluation of axonal regeneration by retrograde tracing showed increased number of DiI labeled cells in the DRG at lumbar 5 or in the ventral horn of the spinal cord at lower thoracic level at 7 days after nerve injury. Conclusions : The present data show that the proximal acupuncture stimulation at Huatuo Jiaji(EX B2) points governing injured sciatic nerves was more effective for axonal regeneration than the distal acupuncture stimulation. Further studies on functional recovery or associated molecular mechanisms should be critical for developing animal models and clinical applications.

트뤼포(Francois Truffaut) 영화의 특징

김금동(Kim Keum-Dong) 한국영화학회 2004 영화연구 Vol.0 No.23

This paper newly examines the films of Truffaut from the viewpoint of Self￢Reflexivity, which is now on the rise, as a theory in the methods of film study. Nouvelle Vague, which started in the 1%0' s in France, is an film movement dose to the concept of Self-Reflexivity of films, Especially, the films of Truffaut and Godard had the features of Self-Reflexivity in their films, With all this Self-Reflexivity in their movies, their films have not studied yet in Korea from the viewpoint of Self￢Reflexivity. Truffaut had a more clear understanding of traditional films than any other directors, and based on the understanding, he created movies of new style. The characteristics of his movies will be exan1ined by analyzing his new style films from the viewpoint of Self-Reflexivity in the films, Therefore, in the paper the followings will be more specifically examined centering on (Les 400 coups) , one of his films. 1. How he understood the traditional films. 2. What kind of relations there are between his understandings on the traditional films and new film-language development. 3. How he understood the spectators. 4. How Self-Ret1exivity and his understanding of the spectators are related.

심박수 변이도(Heart Rate Variability)를 이용해 고찰한 자율신경실조증 환자의 치험례

김대필 ( Dae Feel Kim ),최유석 ( You Seok Choi ),박영회 ( Young Hoi Park ),금동호 ( Dong Ho Keum ) 한방재활의학과학회 2004 한방재활의학과학회지 Vol.14 No.3

Objectives: This study was performed to evaluate the effect of acupuncture treatment on the imbalance of autonomic nervous system in the patient with dysfunction of autonomic nervous system by heart rate variability. Methods: The patient was hospitalized Dong-guk univesity Bundang oriental medicine hospital from 20th, Oct., 2003 to 25th, Oct., 2003. To evaluate the effect of acupuncture treatment, the patient was treated on the Back-shu points with acupuncture and tested immediately before and after acupuncture treatment by heart rate variability. Results and Conclusions: In this case, acupuncture treatment on the Back-su points was able to suppress the sympathetic activities and enhance the parasympathetic activities in the patient with dysfunction of autonomic nervous system. So it is suggested that acupuncture treatment was able to improve the imbalance of autonomic nervous system.

독일 위생영화를 통해 본 조선 콜레라위생영화(1920)와 천연두위생영화(1922)의 특징과 한계

김금동(Kim, Keum Dong) 한국영화학회 2013 영화연구 Vol.0 No.55

요통 치료를 위한 흉요추 이행부(Thoracolumbar junction)와 背兪穴, 華佗夾脊穴과의 상관성에 관한 연구

김대필(YDae-feel Kim),박영회(Young-Hoi Park),금동호(Dong-Ho Keum) 척추신경추나의학회 2004 대한추나의학회지 Vol.5 No.1

Objectives : This study was designed to investigate the correlation between thoracolumbar junction and back-su points, Hwatahyeopcheok points for treatment of low back pain in the thoracolumbar junction syndrome that was suggested by Maigne R. Method : We investigate the acupuncture points that was correlated with the location of thoracolumbar junction area. And We tried to find out a common point between thoracolumbar junction and back-su points, Hwatahyeopcheok points for treatment of low back pain. Results and Conclusion : 1. It is considered that these points such as BL20, BL21, BL22, and Hwatahyeopcheok points that are located from 11th thoracic spinous process to 2nd lumbar spinous process are correspond to the thoracolumbar junction area. 2. It is suggested that acupuncture treatment on BL20, BL21, BL22, and Hwatahyeopcheok points can release the tenderness of the muscles, recover autonomic nervous function and release smooth muscles and vascular contraction, so it can treat low back pain caused by thoracolumbar junction.

알레고리 영화로서의 〈마더〉

김금동(Kim Keum Dong) 한국영화학회 2010 영화연구 Vol.0 No.45

Bong, Joon-ho's 〈Mother〉 seems to deal with insane maternal affection. However, the film contains too many vague and unclear scenes to be considered drawing only a mad mother's love, and as these obscure and uncertain scenes don't belong tightly to narrative of maternal affection, it sometimes seems to be unnecessary and useless. This study examines on what 'layer of meaning' is hidden behind 'layer of surface' of maternal affection in Mother as an allegorical film, relying upon the fact that the obscurity and ambiguity Mother has are in line with the discontinuous and fragmented aspects of allegories in Walter Benjamin's 『The Origin of German Tragic Drama(Ursprung des deutschen Trauerspiels)』. Events surrounding Hyeja and Dojun; Jintae and Ajeong; and the old man in a junkyard, etc. describe tragic contemporary Korean history and citizens as the subjects who have led the contemporary history, Dojun and Jintae signify the South and the North Korean governments, respectively, bom as twins by the tragedy of the national division after Japanese occupation period; Hyeja who is in a mother-son relationship, the citizens who established the South Korean regime; Mina who is a daughter of the Manhattan, the U.S.; Ajeong, many youths who had been sacrificed while shouting for democratization criticizing the violation of human rights; and the old man in the junkyard, the uncomfortable truth of history which we want to throwaway like junks. The film depicts through character of Hyeja our image as the people who have undemocratic and violent propensity and our portrait as the subjects of history who make tragic history repeated by distorting, hiding and forgetting our own images and realities. Moreover, through the relationships among all characters, the film describes the issue of the division after the independence; that of ending pro-Japanese sentiment by South Korea and North Korea; the hostile, symbiotic relationship between South Korea and North Korea; and the relationship between North Korea and the U.S. over the issue of nuclear weapons. Like this, the film hides the layer of meaning of the tragic contemporary Korean history; the repetition of tragic history; and the relationship between them and our portrait as the people who are undemocratic and violent; who distort, hide and forget the truth under the surface layer of maternal affection. The director's view on the tragic and desperate history contained in the layer of meaning of Mother doesn't originate from the sense of despair from the salvation that is no longer realizable but from recognizing the desperate situations from beginning to end from the persistent recognition. Mother, based on the results of such a recognition, thus, suggests an insight through which we can see through all the tragic properties of contemporary Korean history, getting out of a step of simple accumulation of historical facts or of the faithful description of the facts.

외환위기 이후 금융자본 및 영상전문 투자조합이 한국영화산업에 미친 영향

김금동 ( Kim Keum Dong ) 한양대학교 현대영화연구소 2019 현대영화연구 Vol.15 No.1

본 논문은 IMF 이후부터 2000년대 중반까지 영화산업의 주요한 자금원이었던 금융자본 및 영상전문투자조합의 개념과 금융자본이 영화산업에 투자를 가능케 한 정부정책의 변화를 살펴보고, 이를 바탕으로 금융자본이 제작 활성화에 미친 영향과 영상전문투자조합의 투자형태 및 그에 따른 문제점을 고찰한다. 이러한 고찰을 통해 1990년대 말 한국영화의 르네상스를 맞이할 정도의 질적, 양적 발전을 이룬 영화산업에 대해서는 물론 현재에도 영화제작비의 40%, 한국영화 총 편수의 60% 정도에 자본조달 함으로써 여전히 중요한 역할을 하고 있는 영상전문 투자조합에 대해서 이해한다. 1990년대 중반부터 정부정책의 변화로 영화산업에 투자를 시작할 수 있었던 금융자본은 풍부한 제작자본을 조달했으며, 특히 2000년 이후부터 결성되기 시작한 영상전문투자조합은 현재까지 안정적이고 지속적인 자본조달을 통해 한국영화의 고질적인 제작자본 문제를 해결해줌으로써 한국영화산업의 성장과 발전의 원천이 되었다. 그러나 영상전문투자조합들이 메이저 투자배급사의 프로젝트 참여하게 되면서 영상전문투자조합의 투자자본이 메이저 투자배급사의 프로젝트에 집중되었을 뿐 아니라 영상전문투자조합의 수익률 또한 더욱 저하되었으며, 메인 투자배급사가 제작사와의 역학관계에서 우위를 점하는데도 영향을 미쳤다. 이러한 문제를 해결하기 위해 메이저 투자배급사의 투자조합 참여를 제한한 결과 메이저 투자배급사는 사모펀드를 통해, 창투사들은 라인업펀드 등을 통해 투자하기 시작했다. 이로 인해 상대적으로 모태펀드의 영향력이 약화되었음은 물론 텐트폴 영화 같은 대작들은 투자받기 쉬워진 반면 중·저 예산 영화는 투자 받기는 점점 더 어려워지고 있다. Korean film industry has experienced a renaissance by qualitative and quantitative development based on financial capital such as venture investment companies newly introduced in the movie industry in the late 1990s, and as a result, increased gradually, making the share of Korean movies exceeding 50% and reaching 63.8% in 2006, which became the basis of growth of Korean movie industry. In addition, The film investment association, which emerged in the 2000s, is responsible for most of the of the film production cost excluding the investment amount of the investing distributor, standing key axis in film production costs of Korean movies. Although the film investments association contributed to the stabilization of the movie industry, in a response to increased risk due to declining profitability caused by the collapse of the ancillary right market and the sharp increase in production costs, they changed their investment position to more conservative ones including the participation as a partial investor to a project where large conglomerates is a main investor. These changes resulted in the insolvency of production companies and concentrating of capital on the project involved with major investors, and eventually to strengthened market dominance and monopoly/oligopoly of major investors, thus distortion and problems in soundness and stability of the movie industry. These problems directly linked to deterioration of profitability made the investors to withdraw, resulting in a vicious cycle in the movie industry. It was suggested, therefore, that serious discuss about these problem and examination of the overall structure of the film culture industry are needed.

비디오를 통한 관람 공간의 재편(1987-1997)

김금동(Kim, Keum Dong),정태수(Jeong, Tae Soo) 한국영화학회 2017 영화연구 Vol.0 No.73

오랜 세월 동안 극장이라는 요람을 벗어나지 못했던 영화는 비디오를 통해 마침내 극장이라는 공적공간을 벗어나 가정이라는 사적공간에 진입할 수 있게 되었다. 그러나 가정으로 들어갔던 영화는 미디어의 발전과 그에 따른 환경변화와 함께 모바일 같은 매체를 통해 다시 도시의 공적공간으로 되돌아가 그 공간을 사사화하고 있다. 이처럼 영화의 발전이 끊임없는 공간적 재편을 통해 이루어지고 있고, 따라서 영화가 단순히 연대기적으로가 아닌 공간적인 맥락에서 이해되어야 할 필요성이 제기된다. 이렇게 영화의 발전을 공간과의 관계라는 관점에서 보면 ‘한물간’ 매체로 여겨지는 비디오는 오히려 본격적으로 영화관람의 공간적 재편을 주도한 최초의 매체로서 그 시작점에 위치한다고 볼 수 있다. 따라서 본고는 구체적으로 비디오가 사적인 공간으로 가내화되면서 도시의 공적 공간들이 어떻게 변화했으며, 비디오산업과 문화운동 공간은 비디오문화의 질적 향상과 어떤 관계가 있는지 그리고 서로 다른 공간인 극장과 사적공간에서 이루어지는 관람문화는 어떤 차이를 지니는지 살펴본다. 이에 있어서 본고는, 영화연구의 경우 영화를 둘러싼 맥락을 종합적으로 검토해 전체사를 지향해야 한다는 클링어(Barbara Klinger)의 주장처럼, 극장과 가정 사이에 놓인 도시 공간, 산업적공간과 질적 향상을 위한 비디오 문화운동의 공간 그리고 사적공간인 가정에서의 관람 공간 등 서로 이질적인 공간들을 다양한 층위에서 살피면서 비디오관람을 둘러싼 맥락들을 종합적으로 검토함으로써 전체사를 지향한다. 이를 통해 ‘비디오를 통한 관람 공간의 재편’의 전체사는 결국 복잡하고 다양화된 미디어 환경 속에서 빠르게 변화하며 진행 중인 현재의 영화관람을 이해하기 위한 과거의 재사유의 하나가 될 것을 목표로 한다. Films that have not escape the cradle of theaters for long periods were finally deviated from the public spaces and entered into private spaces such as home after its onset. However, home-oriented films now return to urban public spaces via mediums such as mobile phones along with the development of media and its environmental change. This implies that films are developed by the continuous spatial reformation. Therefore, films are needed to be understood in the context of space, not simply in terms of chronology. The development of films can be understood that video, which is typically considered as “old-fashioned” media, is located at a starting point as the media that encouraged the spatial reformation of watching movie in terms of the relation with space. Therefore, this paper will examine how urban public spaces were changed as video was domesticated into private spaces, how video industry reformed film-producing spaces, and a difference in two distinct inspection culture between theaters and private spaces. As Barbara Klinger argued that the film study should be oriented for the total history by examining context surrounding films comprehensively, this paper aims for the total history by investigating distinct spaces such as industry spaces including urban spaces in-between theaters and homes, video market, and film production, film-viewing spaces at home as private spaces from multiple layers and by surveying various contexts surrounding video watching comprehensively. Thus, the total history of “reformation of viewing spaces through video” aims for one of historical reconsiderations to understand the current movie watching rapidly chaging in complicated and diversified media environments.