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.

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

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.

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.

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.

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

휴전의 상징, 비무장지대를 배경으로 한 한국영화의 영화적 특징에 관한 연구

정태수(Chung, Tae Soo) 한국영화학회 2013 영화연구 Vol.0 No.57

The DMZ(Demilitarized Zone) and armistice, which were the consequence of Korean War, are places where political and ideological tensions and interests between powerful nations are centered on, the site where the history of others dominate, and are symbolic spaces where the will and wish of the Korean, North and South, are colliding and interacting. Many film directors in South and North Korea visualized the colliding political ideas between South Korea and North Korea, the Korean War, the DMZ, and the armistice. On the one hand, they mainly showed the sorrow and sufferings that the war and the political and territorial division had brought to each other with humanistic lens. On the other hand, they examined such problems with their own specific ideology and system. Thus, they could not help but having limited look at the tragedy of Korean history. The cinematic objectification of historical events that happened in and around the cease fire line powerfully describe the tragedy. Beyond the ideological confrontation and the superiority competition of political system, the cinematic objectification showed the historical events themselves that happened in the DMZ. Among others, the best are The DMZ (Park Sangho, 1965), Joint Security Area (Park Chanwook, 2000), DMZ (Lee Gyuhyeong, 2004), Underground Rendezvous (Kim Jongjin, 2007), and On the Pitch (Gye Yoonsik, 2010). In these films, newsreels and documentary footages are what make objective historical events on which they are based. In addition to this, they accomplish the objectification by giving the temporal and spatial information on historical events, for example, by adding text on the scene. The aim of this paper is to analyze the five movies and show how they all use newsreels, documentary footages on Korean War, the armistice, and the division and the optical effect of adding text on film.

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

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

정치적 기능으로서의 영화와 창작으로서의 영화

정태수(Chung Tae Soo) 한국영화학회 2005 영화연구 Vol.0 No.25

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”.