Representation of Technology and Utopian World Projected in the 1930s Soviet Films - Focusing on The Country Bride(1937) and Tractor Drivers(1939)

This paper aims at examining how technology was represented in Soviet film of the 1930s within utopian-oriented environment and how these representations were related with that time. Mainly, this paper analyzes two films of Ivan Pyrev, The Country Bride(1937) and Tractor Drivers(1939) which romanticizes about ideals of Soviet society through ‘technology utopian’ elements in the countryside. Both of the films that sets not only musical comedy genre with a love story but also embodies socialist realism, are about a story that labor-production heroes achieves both of ‘work’ and ‘love’ by showing their operation efficiency. Within this story, ability of individual skill is emphasized and efficiency of collective skill is regarded as important task.On the other hand, sharing roles and establishing balanced relationship between technology and human, women and man, individual and group are presented organizationally in two films. These representations reflects (un)intentionally Soviet society with conflicts between individual and individual, group and group, caused by troubled process of agricultural collectivization at that time.Ultimately, these films hyperbolically justifies the Stalin regime's policy and power. However, because real lives of the Soviet people were remarkably different from the utopian imagination, internal contradictions or gap with reality are revealed in two films through various forms both inside and outside of the text.이 논문은 2016년 대한민국 교육부와 한국연구재단의 지원을 받아 수행된 연구임(2016S1A5B8914175

A Study on Polish Film School in Thaw era(1955-1965)

해빙기 폴란드 영화학파(1955-1965)는 폴란드 영화역사에서 중요한 전환기적 의미를 지닌다. 그것은 폴란드의 역사와 영화의 기능과 밀접한 관계 속에서 형성되었다. 이러한 특성은 인접 국가들과 수많은 전쟁과 패배의 아픔을 통해 형성된 폴란드 국가의 특별한 역사로부터 비롯되었다. 특히 1955년에서부터 1965년까지 소련으로부터 불어온 해빙의 바람을 타고 새로운 창작적 시도를 모색하고 실천한 폴란드 영화학파는 이러한 역사적 흐름의 중심에 있었다. 이는 소련으로부터 유입된 사회주의 리얼리즘 창작수법과 현실을 보다 사실적으로 묘사함으로써 영화의 사회적 역할을 강조한 폴란드의 영화 창작가들과의 대립에서 드러났고 안제이 바이다의 영화 <세대>를 통해 구체화되기 시작했다. 그리고 1956년 포즈난에서 노동자들의 봉기로 10월의 봄을 맞이하면서 더욱 본격화되었다. 이를 통해 폴란드 영화학파는 그 동안 사회주의 리얼리즘에 의해 통제받았던 가장 가까운 제2차 세계대전에 관한 전쟁의 역사, 민족의 정체성, 드러나지 않았던 현실에 대한 문제를 창작의 핵심 주제로 영화화 할 수 있었다.전쟁의 역사는 영웅적 행위 자체를 가능한 배제하면서 폴란드가 처한 역사적 상황을 보다 객관적이고 냉정한 시각으로 묘사하면서 민족의 정체성을 결합시켰다. 뿐만 아니라 전쟁이 인간에게 주는 상처와 정신적 트라우마를 전쟁이후 남겨진 사람들의 기억과 삶 속에서 생생하게 묘사하고자 하였다. 또한 블랙시리즈로 불린 다큐멘터리 작품과 안제이 뭉크, 로만 폴란스키 등의 영화를 통해서는 폴란드 사회의 숨겨진 현실을 드러내기도 하였다. 이들 영화는 폴란드 사회의 현실을 직접적으로 드러냈을 뿐만 아니라 전쟁이후 불합리한 사회구조와 그 이면의 모순을 적나라하게 폭로하였다. 이러한 시도는 이 시기의 영화를 폴란드 영화학파라는 프레임에 위치시키게 하는 핵심적 요소인 것이다. 따라서 폴란드 영화학파는 폴란드 영화 역사에서 이전 시기의 창작논리를 견인하고 있던 정치적, 사회적, 예술적 상황으로부터 과감하게 탈피하면서 폴란드 영화역사의 특별한 흐름을 가름하고 형성하는데 중심으로 작용하고 있다고 할 수 있다.Polish Film School(Polska Szkoła Filmowa, 1955-1965) in Thaw era played an important role in historical turn of Polish cinema. Thaw-Era films were made in a close relationship between Polish history and the function of film. Especially, specific Polish history, affected by failures through many wars with surrounding countries formed the characteristics of Polish Film School. Based on this social environment, Polish Film School tried new challenges and was in the midst of this historical turn with Thaw dissolving deep freeze of postwar Stalinism from 1955 to 1965.Polish Film School began to make new films by describing more realistic than Socialist Realism introduced from the Soviet Union and conflicting with Polish film makers who stressed on the social role of film. This kind of movement was embodied through <A Generation>(Pokolenie) directed by Andrzej Waida and got to be processed by labors’ protests in Poznań in 1956. Through a set of changes in social and political environment, Polish Film School could discarded Socialist Realism. As a result, its films dealt with the history of war related with World War II, identity of nationality, and problems about reality hidden for making films.First, the history of war affected films. Some films made a national identity to be united by excluding heroic actions and depicting historical situations of Poland in an objective manner. Also, some films in this era described people’s hurt and trauma from the wars vividly through their memories and lives. Some films such as documentary films, called ‘Black Series’ and feature films by Andrzej Munk or Roman Polanski revealed the reality of Polish society, which was unknown. Those of films disclosed contradictory or irrational social structures after the war and mirrored Polish society in direct way.Therefore, as Polish Film School got quit of the traditional way of creation which was implemented by political, social, and cultural context, it did important role in forming and dividing specific part of Polish cinema history.이 논문은 한양대학교 교내연구지원사업으로 연구되었음(HY-2016년도

다중 삼차원 복합체 구조를 이용한 SH3 도메인과 리간드간의 상호작용 예측

학위논문(석사) - 한국과학기술원 : 바이오및뇌공학과, 2010.2, [ iv, 36 p. ]Protein - protein interactions (PPIs) are important since most of biological activities are constructed of a network of a series of PPIs. Therefore specifically targeting proteins which are involved in key biological activities can lead to controlling of entire system, which is the reason why proteins have been considered as the major drug target. Studies on PPIs have been done for a long time by widely used experimental methods such as yeast two hybrid method, SPOT array synthesis, or X-ray crystallography, but those methods are expensive and time-consuming procedures. Consequently, prediction of PPIs and selecting a probable set of protein - protein pairs beforehand is highly desirable. Previous methods basically focus their study in predicting result which has answers. But algorithms which are made and trained based on known data are often failed when novel data set is introduced, i.e. overfitting. Therefore in this research our focus lies on developing method which is flexible to various unknown data. In this study SH3 domain is used for prediction, since the consensus binding motif of SH3 is classified and only small part, 10 amino acids - decapeptides, of binding protein is most important in interaction, therefore problem can be simplified. First, homology modeling of SH3 domains of unknown sequence is done by searching the most similar sequence from PDB and 3 dimensional complex structures which are formed by combining various peptide sequences are generated with MODELLER. A series of molecular dynamics (MD) simulations were performed to minimize intra and inter-chain clashes and to stabilize peptide backbone structures. Then interaction energies between SH3 domain and peptides were calculated based on the complex structures generated by MD simulations. Finally, list of 200 top ranking peptide sequences are used to generate position weighted matrix (PWM). We could conclude with certain aspect that our method can predict PPIs of unknown sequence.한국과학기술원 : 바이오및뇌공학과