1990년대 강우석 영화의 서울 공간 재현

장우진(Chang, Woo Jin) 한국영화학회 2018 영화연구 Vol.0 No.75

이 글은 가장 대중적인 상업영화 감독으로 인정받는 강우석 감독의 1990년대 영화가 서울의 주거공간과 도시공간을 어떻게 재현하고 있는지 논의한다. 분석대상은 서울 올림픽 이후부터 IMF 사태 발생 전까지 제작된 〈행복은 성적순이 아니잖아요〉(1989), 〈나는 날마다 일어선다〉(1990), 〈누가 용의 발톱을 보았는가〉(1991), 〈미스터 맘마〉(1992), 〈투캅스〉(1993), 〈마누라 죽이기〉(1994), 〈투캅스2〉(1996)이며, 이들 작품은 모두 서울을 공간적 배경으로 한다는 공통점이 있다. 이 글이 제기하는 질문은 세 가지이다. 첫째, 1990년대 서울 공간 변화의 특징이 무엇인가? 둘째, 1990년대 강우석의 영화들은 서울의 주거공간과 도시공간을 어떻게 재현하고 있는가? 셋째, 그러한 주거공간과 도시공간의 영화적 재현을 통해 우리가 독해할 수 있는 당대의 가치체계나 욕망, 불안 등은 어떠한 것인가? 1990년대는 경제적 호황과 더불어 중산층이 급부상한 시기였다. 이 시기에 서울은 아파트 단지가 대규모로 개발되었고 교통망이 크게 확충되었다. 이에 따라 도시 분산화가 이루어졌고, 아파트는 서울 중산층의 대표적 주거공간이 되었다. 강우석의 영화는 1991년까지 주로 현실 비판의 영화였으며, 아파트를 부정적 이미지로 재현하였다. 그러나 1992년 이후 아파트는 중산층 인물의 평범하고도 일상적인 주거공간으로 제시되었다. 이는 당시 아파트가 중산층이 소유하기를 원하는 욕망의 대상이 된 현실을 반영한 것이며, 강우석의 영화는 현실과 동경의 어색한 부정교합 형태로 중산층의 욕망을 소비하게 만들었다. 또한, 당시 한국영화가 도시의 화려함에 주목한 반면, 강우석의 영화는 개발이 되지 않았거나 이미 버려진 도시의 주변공간을 주목하는 경향이 있었다. 이것은 발전의 미완을 상기시켜 주었다. 한편, 강우석의 영화는 새로운 도시공간으로서 자동차 실내공간을 제시하였다. 당시 중산층의 사적 욕망과 소비 대상이었던 자동차의 실내공간은 이제 개인의 자유와 프라이버시가 보장된 은밀한 사적 공간으로 재현되었다. This paper discusses how are the residential and urban spaces in Seoul represented in the 1990s movies directed by Kang Woo-suk who was recognized as the most popular commercial film director in Korea. The subjects of the analysis are as follows: 〈행복은 성적순이 아니잖아요〉(1989), 〈나는 날마다 일어선다〉(1990), 〈누가 용의 발톱을 보았는가〉(1991), 〈미스터 맘마〉(1992), 〈투캅스〉(1993), 〈마누라 죽이기〉(1994), 〈투캅스2〉(1996). All of these have a common thing that they have a spatial background in Seoul. There are three questions that this paper poses. First, what are the characteristics of spatial change in Seoul during the 1990s? Second, how did the films of Kang Woo-suk in the 1990s reproduce the residential and urban spaces in Seoul? Third, what are the value systems, desires, and anxieties of those days that we can read through the cinematic representation of residential spaces and urban spaces? The 1990s was a time when the middle class emerged with economic boom. At this time, apartment complexes were developed on a large scale in Seoul and the transportation network was greatly expanded. As a result, urban decentralization has been achieved, and the apartment has become a representative residential space of the middle class in Seoul. Kang Woo-suk ‘s movies were mainly films of criticism of reality until 1991, and they reproduced the apartments as negative images. However, since 1992, apartments have been presented as ordinary and everyday living spaces of middle class people in his movies. This reflects the fact that the apartment was the object of desire to be owned by the middle class at that time, and Kang Woo-suk’s movie made spectators consume the desire of the middle-class in the form of awkward malocclusion of reality and longing. In addition, while Korean films generally paid attention to the splendor of the city, Kang Woo-suk’s films tended to pay attention to the surrounding space of the city that had not been developed or had been abandoned. This reminded us of the incompleteness of development. On the other hand, Kang Woo-suk’s movies presented the interior space of a car as a new urban space. The interior space of a car, the target of private desires and consumptions of middle class, became represented as a private urban space with individual freedom and privacy guaranteed.

Phage Lysogen 과 EBA 를 이용한 세포내 효소의 회수

장우진,구윤모 ( Woo Jin Chang,Yoon Mo Koo ) 한국화학공학회 1995 화학공학의이론과응용 Vol.1 No.2

선박 연료유 잔존량 추정모델을 이용한 침몰선박 위해도 평가

장우진,이승현,염홍준,이인철,Chang, Woo-Jin,Lee, Seung-Hyun,Yeom, Hong-Jun,Lee, In-Cheol 해양환경안전학회 2016 海洋環境安全學會誌 Vol.22 No.1

침몰선박은 침몰 당시뿐만 아니라 오랜 시간이 경과된 후에도 선체 내에 잔존하고 있는 연료유 등 유해물질의 지속적 혹은 일시적 유출로 2차 해양오염사고를 발생시킬 수 있다. 정부에서는 1999년부터 침몰선박에 대한 관리업무를 수행하고, 침몰선박의 잠재적 위해도를 정량적으로 평가할 수 있는 위해도 평가표를 개발하여 운영함으로써 침몰선박에 대한 국가적 관리체계를 구축하고 있다. 그러나 현재의 침몰선박의 위해도 평가는 침몰선박에 잔존하고 있는 연료유 등의 양에 의해 평가점수가 판이하게 달라짐에도 불구하고, 침몰선박 현황보고자료 중 상당수가 연료유 잔존량 항목이 누락되고 있는 실정이다. 이에 본 연구에서는 선박 연료유 잔존량에 대한 추정모델을 개발하여, 현행 침몰선박 위해도 평가에 적용함으로써 보다 정확한 평가를 수행할 수 있는 방안을 마련하였다. Sunken vessels accidents have harmful impacts on the marine environment because of oils and chemicals in the vessels. The government has managed them and developed risk assessment which can evaluate potential risk quantitatively since 1999. But the grades of present risk assessment has changed greatly depending on quantity of remaining fuel oils, and the list of remaining fuel oils omitted in status report of sunken vessels. Therefore, the aim of the study is to estimate and develop model for quantity of remaining fuel oils and verify the remaining fuel estimation comparison with active vessels. To accomplish the purpose of the study, apply this verified estimation model to current risk assessment and recommend guideline for an accurate sunken vessels risk assessment.

침몰선박 관계법령 및 위해도 평가체계 개정방향

장우진(Woo-Jin Chang),나선철(Sun-Cheol Na),박서준(Seo-Jun Park),이승현(Seung-Hyun Lee) 한국해양환경·에너지학회 2016 한국해양환경공학회 학술대회논문집 Vol.2016 No.5

영화의 시점 : 다성성과 수사학

장우진(Chang Woo Jin) 한국영화학회 2005 영화연구 Vol.0 No.27

'Point of view' is one of very difficult and complex problems in narrative theory. It is not a question of distinction between 'first person' and 'third person'. It is not limited to only images or visions, either. It has something to do with relations and distance between narrating subject and narrated objects. It is also related to the narrator's mental attitude to the narrated things, narrator's perception and the quality of the informations provided by that narrator. This essay examines various opinions on point of view critically in general narrative theory and film narratology. For example, some arguments by Gerard Genette, Seymour Chatman and Susan Lanser in general narrative theory, and then by Francois lost, Nick Browne, Seymour Chatman(again), and Edward Branigan in film narratology are discussed. These arguments refreshed the concept of 'point of view', but I think they are not quite enough. This essay presents three points of view on 'point of view' in films. First, we should distinguish between the point of view of representation(image and sound) and that of verbal or written narration in films. Second, 'point of view' should be explained by the whole effect by the interaction among various points of view because a film has multiple ways of narration(image, sound, verbal narration, written narration, and music) concurrently. Third, 'point of view' should be understood in dynamic system in which a text changes and moves among various points or view, If we accept this concept of point of view in films, the discussion will not stay where it only propose the classification of types of point of view and go on to the level that analyze the characteristics and rhetoric of film narration.

랩온어칩에서의 생물분리기술

장우진(Woo-Jin Chang),구윤모(Yoon-Mo Koo) 한국생물공학회 2005 KSBB Journal Vol.20 No.3

테리 길리암의 영화에 투영된 현실 인식

장우진 ( Woo Jin Chang ) 한양대학교 현대영화연구소 2007 현대영화연구 Vol.3 No.2

This essay deals with what is the Terry Gilliam`s perception of the reality which is projected in his films. Gilliam`s Films combine the reality with fairy tales delicately. They usually deals with a journey of an adventure or a quest. We can extract some binomial pair of Gilliam`s sense of values from his films and then we can find out he thinks a fantasy is more valuable than the reality. He also uses various black humors and ironies. In addition, his images have very high density. The problem is that his films do not just come to an end by the fantasy`s superiority. When the fantasy is over, his films show the bitter perception of the reality. He prefers a take-a-round type of stories which goes far and comes back to where it starts. This is the way Gilliam deals with the bitter reality in his film, and the reason why he adheres to deal with fairy tales or fantasy at all times.

S/X-band용 AlGaN/GaN HEMT 소자의 특성

장우진(Woo-Jin Chang),안호균(Hokyun Ahn),임종원(Jong-Won Lim),문재경(Jae-Kyoung Mun),윤형섭(Hyung-Sup Yoon),민병규(Byoung-Gue Min),지홍구(Hong-Gu Ji),강동민(Dong-Min Kang),김해천(Haecheon Kim),남은수(Eun Soo Nam) 대한전자공학회 2010 대한전자공학회 학술대회 Vol.2010 No.6

The fabrication method and the performance of AlGaN/GaN High Electron Mobility Transistors (HEMTs) for S/X-band Applications were presented. The fabricated AlGaN/GaN HEMT with a gate length of 0.5um and a total gate width of 300um exhibited a maximum transconductance of 305mS/mm and a drain saturation current of 180mA, respectively. The cut-off frequency(fT) and the maximum frequency of oscillation (fmax), measured at Vds = 8V, were 31GHz and 53GHz, respectively. The AlGaN/GaN HEMT also shows a maximum output power density of 2.3W/mm at 2.4GHz and 1.8W/mm at 10GHz. For the fabricated AlGaN/GaN HEMT with a gate length of 0.25um and a total gate width of 100um, the cut-off frequency(fT) and the maximum frequency of oscillation (fmax), measured at Vds = 8V, were 39GHz and 120GHz, respectively.

영화〈라쇼몽〉을 통해 본 다층적 서술 구조의 기능

장우진(Chang Woo-Jin) 한국영화학회 2003 영화연구 Vol.- No.21

Akira Kurosawa' s 〈Rashomon〉 has multi-level narration structure as well as multiple narration structure. “multiple” means the narration structure has some levels of narrations and that is hierarchal, while “multiple” means there are multiple narrators in one work. As known, the theme of 〈Rashomon〉 can be told 'the relativity of truth' and it can be deduced from the multiple narration structure by which spectators can compare with one another. In fact, Kurosawa' s 〈Rashomon〉 has 6 different narrators who are in diegesis: the bandit, the medium(the husband), the wife, the woodcutter, the priest and the policeman . In addition, the narration structure is constructed with 3 hierarchal levels unlike Ryunosuke Akutagawa' s original story 〈In a Grove〉 nor 〈Rashomon〉; the 1st level narrated by invisible narrator who is out of diegesis, the 2nd level narrated by the woodcutter and the priest in “Rashomon”, and the 3rd level narrated by the woodcutter, the priest, the policeman, the bandit, the medium(the husband), and the wife in the court. In Kurosawa's 〈Rashomon〉, the theme is strengthened by multi-level narration structure. In the 3rd level, the stories by the bandit, the wife, and the husband would rather reveal each character' s position than the events itself. Their stories are juxtaposed and the differences are compared in the 2nd level. It makes a kind of controversy on the truth about the murder and rape in the grove. It is in the 1st level that the woodcutter' s witness is added through which the controversy become more serious. Besides, the argument among the woodcutter, the priest, and the commoner and the event surrounding an abandoned child is narrated in the 1st level. The controversy is overlapped in this way and the theme is strengthened by that. The narrative unfolded effectively is due to the multi-level narration structure, too. Some of the narrators in the 3rd level(the woodcutter, the priest and the policeman) seem to function as if they present "former statement" like a "katsuben" during Japanese silent film era. The story-teller(the woodcutter and the priest) and the hearer(the commoner) in the 2nd level control the speed or tempo of the narrative which is related with the murder and rape in the grove through their conversation with one another.

화면 분할의 미학과 의미

장우진(Woo-Jin Chang) 한국콘텐츠학회 2012 한국콘텐츠학회논문지 Vol.12 No.1

이 논문은 화면 분할의 역사적 전개 과정을 살펴보고, 극영화의 화면 분할 유형과 그 서사적 의미를 논의한다. 그 결과, 사건과 캐릭터를 기준으로 삼되 동시에 제시되는 이미지 간의 관계와 극적 의미의 결합에 주목하여, 극영화의 화면 분할 유형에 대한 분류를 시도하고, 그 내용을 하나의 도표로 제시한다. 또한 화면 분할이 극영화의 이야기 방식을 선형적인 것에서 탈선형적인 것으로 바꾸며, 영화의 스크린 개념을 창문으로 표현되는 원심적 공간에서 캔버스로 표현되는 구심적 공간으로 전환시킴을 주장한다. In this paper, I examine the history of split screens, primarily seek to explain types of them, and explore the narrative meaning of each type in feature films. In short, I try to categorize the types of split screens and present a figure of them according to events and characters, focusing the relations between/among simultaneous images and narrative meanings. In addition, I assert that split screen have altered some methods of filmic storytelling and the ontology of screen. Story lines no longer have to be linear and the screen need not to remain a window through which we can see another world. The screen has come to be a canvas upon which several images can be arranged for narrative purposes.