Earticle

Temporary absence(s) of a particular element(s) can make desiredeffects in the cinema, essentially a composite and organized artform. For example, an absence of sounds creates silence, an absence of light make darkness, and their meanings allow formultiple variations of ‘mise en scene’ and explanation. But how aboutsubtitling? Apparently, we do not yet consider the subtitle as anelement adequate in itself. It is probably because negative clichesstill remain: the subtitle is a necessary evil, or rather subtitling is asubordinate translation for delivering the meaning of dialogues. Therefore, first of all, this article will analyze the desired subtitle’seffects which are removed at the will of director Aki Kaurismak, inthe movie Le Havre. What is more, according to this analysis we willexamine the role of the translator: his role is not simply to act as afaithful transposition of dialogues, the suppression of which canalso become a possibility via his autonomous choice for the dramaticeffects of ‘mise en scene’ in a translated movie.

The classical Korean films are being saved and restored than ever before for the appreciation of 100 years of history. The digitally archived films are now available on YouTube, the global online streaming platform. Then, the subtitles of these films are retranslated due to the fact that the screening media was changed and the original subtitles were removed or lost. The aim of this research is to establish whether any subtitling translation strategy can be detected in the way culture is retransmitted through the YouTube channel. Therefore, the study analyzes the subtitling translation strategies of culture specific terms implemented with factors unique to digital media as well as those for this particular genre of film focused on the ‘Insect Woman’, one of the classical Korean films produced in the 1970s and directed by Kim Ki-young. The development of subtitling norms would help achieve greater exposure and popularization of classical Korean films. Therefore, the purpose of subtitles should not merely be to help the understanding of the plot but rather to give an exploration through the authentic verbal depiction of foreign cultures.

In interpretation, the converted version should be able to cause the same reaction from the audience as the speaker intended with his original speech. To that end, transforming the sense of a language into the corresponding linguistic units of another language must be done at the deep structure level, not at a surface level. Most interpreters are well aware of this fact, in principle, but they are not free from occasional word for word translation. To explore the cause of this phenomenon, this study divided college students into two groups and showed English movie clip to both groups. One of the group’s clip did not have subtitles while the other group’s clip had Korean subtitles. Comprehension was accessed by a twenty-item fill-in-the-blank test. The results showed that students in the experimental group with Korean subtitles retrieved English words more easily than students in the non-subtitle group. In the experimental group itself, literally translated Korean subtitles brought higher scores than Korean subtitles transformed at the deep structure. This indirectly demonstrates that converting words at surface level requires less information processing capacity than the processing at deep structure level. This explains, in part, why interpreters sometimes end up with literal translation in their simultaneous interpretation. The extreme multi-processing under time pressure might be responsible for this.

본 연구는 청각장애인들과 시각 장애인들의 방송콘텐츠 소비 편의성을 향상하기 위한 방법을 제 안하기 위함이며 시청각 장애인용 방송을 수신하기 위해 사용 중인 방송 수신기 및 일체형 디지털TV 등 전용 하드웨어 기반의 시청방법을 보완하거나 또는 대체할 수 있는 기술적 대안을 제시하고자 한 다. 지금까지 장애인들의 방송시청 접근 불편을 해소하기 위한 정책적 차원의 재원 및 노력 투자가 꾸 준히 이루어지고 있어서 청각장애인들의 시청을 돕기 위한 자막 방송 및 시각 장애인들의 시청 지원 을 위한 화면해설 방송 콘텐츠들은 꾸준히 증가하고 있다. 그러나, 이러한 콘텐츠 송출의 지속적인 증 가에 비해, 시청각 장애인들이 이를 소비하기 위한 방송수신환경(전용 수신장치 보급)은 여전히 미흡 한 상황이며, 대대적인 정부예산의 투자가 있기 전까지는 전체 장애인들의 방송시청 접근권은 여전히 제한될 수 밖에 없다. 이에, 본 연구에서는 우리나라 국민의 90%가 보유하고 있는 스마트 기기(스마 트폰 및 태블릿 기기)를 주 HW기기로 활용하여, 방영되는 방송의 오디오 핑거프린팅 정보를 통해 방 송을 인식하고, 시청각 장애인에게 필요한 자막정보 및 화면해설 정보를 동기화 시킴으로서, 이를 스 마트기기의 스크린 혹은 이어폰을 통해 소비하게 하는 서비스 기술을 제안한다. 이를 통해 전용 수신 기가 없는 환경에서도 시청각 장애인들의 콘텐츠 소비가 가능하며, 장애인과 비장애인의 동시 시청환 경에서도 자신만의 시청 보조 환경 확보가 가능하게 하는 등, 시청각 장애인들의 방송시청 편의성을 최대한으로 제공 할 수 있는 대안이 될 것이다.

This research is to suggest ways to improve the broadcast content consumption of the vision and hearing impaired people. And it is to propose technical alternatives to complement or replace currently used dedicated hardware based solutions such as set-top-box receivers or function embedded digital TV for the convenient consumption of subtitle contents or screen commentary contents. Many public efforts and financial investments have been done to enhance the accessibility of those people, and as a consequence of this, amount of dedicated broadcast content has been increased gradually. However, in spite of the increase of dedicated contents, the provision of receiving device is still insufficient. Therefore, without government’s intensive budgetary investment, it is not easy to provide convenient accessibility of the broadcast contents for the vision and hearing impaired people. To solve this problem, this research suggests service technology to use personal smart device(smart phone, tablet etc.) as the receiving hardware, by applying audio fingerprinting technology to detect, recognize and compare the digital DNA of broadcast contents, and providing synchronization of text subtitles and screen commentary audio narrations onto the dedicated smart devices. By means of this solution, it is possible for the vision and hearing impaired people to consume broadcast contents without set-top-box, to secure private watching circumstances easily, with very low cost.

French director Dany Boon’s movie, Bienvenue chez les Ch'tis became a hit, attracting the highest number of viewers among all French films in France. The synopsis of this movie is relatively simple. A southern postmaster, Philippe Abrams, is appointed to work in Bergues, Nord-Pas-de-Calais, a northern region of France. There, he is shocked by the linguistic and cultural differences between the southern and northern regions, but the film resolves the conflicts humorously. This is not a fresh story; rather, it is based on a universality that can enable a change in contexts in any country or any region. But from a translational perspective this intralinguistic difference is the main element of the movie and it is difficult to translate. So the translation of the northern dialect is the main translation issue and the greatest challenge for the translator. As proof of this difficulty, many translation studies have already been published in Europe. This movie was released in Korea in July 2015. However, there are vast differences between the European and Korean subtitles. The Korean subtitles are ‘relay translations’ via the English subtitles, while the European translations are a direct translation from French. Therefore, this article focuses on the problem of ‘relay translation’ in the Korean subtitles of Bienvenue chez les Ch'tis and analyzes their errors and deviations. Above all, if we consider that reality that most foreign movies, except English movies and a few Japanese movies, are translated via English subtitles in Korea, research into relay translation is an urgent matter.

There is a constant string tension between movie importers/distributors and the Korea Media Rating Board (hereafter KMRB) as to which rating an imported movie would be labelled, because the rating has a decisive impact on the ticket power and profit in South Korea (Park, 2013; Korean Film Council, 2014). Although ‘violence’ and ‘sexuality’, the two critical factors of Korean movie ratings as stipulated by the KMRB, can be judged not only by the screen but also its linguistic embodiments, few studies have addressed how the Korean subtitles of ‘bad language’ (Dobao, 2006), including choices of ellipsis, may influence the ratings in the South Korean context. With its focus on English DVDs rated as ‘PG15’ in South Korea, equivalent to ‘PG13’ in the US, this study explores Korean subtitles of English bad languages and their acceptability, influenced by, and dependent on, the rating. It focuses especially on the criterion of vulgarity of lines, one of the 7 criteria that KMRB stipulates for the movie rating. The study reveals KMRB’s very low acceptance tendency of sexual intercourse terms, resulting in increasing the rating of vulgarity of lines. In contrast, KMRB is tolerant of words containing violent semantic components, such as “shit” and “damn”.

The French film director Eric Rohmer, who was a literature teacher and novelist himself, explored the relationship between the novel and film, speech and images during his career that lasted for around 50 years. Particularly, his early works that helped him gain reputation as a director were all adapted from novels. Among his many adaptation films, this study examines Perceval (1979) which was adapted from one of the oldest French novels, Chrétien de Troyes's 12th-century Arthurian romance Perceval, the Story of the Grail. After Rohmer himself translated this medieval romance written in verse into modern French verse, he used this text almost without any changes. This means that the characters of the film speak not only in dialogues but also in the third person’s narrative for descriptions and narratives that are spoken in the third person's narrative in the novel after designating themselves as the third person. As a result of this exceptional experiment where the narrator role is given to (assigned to) characters instead of a camera in the film, the familiar relationship between speech and image is broken in this film. With this change, Deleuze discovers some features of the modern film (or the second stage of sound movie). According to Deleuze, no longer do speech and visual images interact with each other directly, but begins to make a relationship freely and indirectly. Then, the problem left for the translators and translation researchers are largely condensed into two. The first problem has to do with how to translate this exceptional experiment of Eric Rohmer. Second, a self-assessment of our perception of subtitling that still remains at the level of classical sound movies, although contemporary films have already absorbed the outcomes of such film experiments that are more than 30 years old.

Eric Rohmer, one of the most representative and prominent directors of the French New Wave era, has produced dozens of films during his lifetime particularly nourishing on the French literary tradition. He was most exceptional and incomparable to any other figure in exploring the relationship between dialogues (paroles) and visual images and strongly believed in the inherent power of dialogues (Rohmer, 1989:46-52). He elucidated his thoughts on the relationship between dialogues and visual images by borrowing the term ‘discourse (discours)’ from the realm of literature. Later on, Delleuze further developed these ideas into a discussion about the cinematic free indirect dialogues within Rohmer’s films. In this context, this paper aims to study the cinematic dialogues in Rohmer’s films and discuss subtitling translation in Rohmer’s own dialogue terms particularly by focusing on concrete examples found in his film My Night at Maud’s. The main purpose of proceeding with this study is to advance the general discussion about subtitle translation into a deeper level of translation study focusing on an individual author and his masterpiece (oeuvre). Furthermore, I intend to show the possibility of how subtitles can be established and created as another subject based on the relationship of the two subjects, the audio and visual image. Most importantly, it is almost impossible to anticipate translation to be successful in practice if such possibilities of a subject are hardly presumed. Subtitles are, nonetheless, still subordinate to visual images and much prejudice continues against audiovisual translation under claims that it is far incoherent compared to other genres of translation. This article therefore seeks to reexamine whether such biases are pushing the potential of subtitles out of the screen and study field by focusing chiefly on its limitations.

This article investigates the change in mode (spoken to written) and orality in cinematic subtitles. There has been a lot of study on the oral effect of subtitling, but often it only focuses on spatiotemporal constrainsts and subtitlin techniques. The idea that orality can be lost in the subtitling pocess is spread. so we really feel the need to push research in this area. In addition, te dichotomy between ral and written communication and the dichotomy between meaning and form are barriers to research. Tehrefore the researchers consider subtitling a written shortcut used only to convey meaning. In reality, however, subtitles are synchronized to dialogue and thusact as a written transcript of oral communication. In addition, the subtitle is a unique mode of translation presupposing the coexistence of the source language and the target language. As such, it is best not to makethe distnction etween written and oral communication in this case. And we need to analyse the oral communication in this case. And we need to analyse the oral elements ad translating them in the subtitle. With this in mind, a method must be found to bridge the gap between spoken and written word. To do this, the concept of accurately reflecting orality in subtitles will be discussed.

텔레비전 뉴스의 시각적 요소들이 수용자들에게 언어텍스트에 못지않은 영향력이 있으며, 더 많은 정보량을 가지고 있을 것이라는 막연한 주장들이 있었지만, 시각적 요인과 청각적 요인의 영향력을 분리한 실증연구는 그리 많지 않다. 따라서 본 연구에서는 최근 많은 사회적 이슈가 되고 있는 환경관련 뉴스를 중심으로 ‘텔레비전 뉴스의 영상과 자막이 수용자들의 환경단체에 대한 태도변화에 영향을 미치는지’, 그리고 ‘수용자의 관여도에 따라 영상과 자막이 주변 단서(peripheral cue)로써 수용자의 태도변화에 미치는 영향에 어떤 차이가 있는지’ 점화효과 이론과 정교화 가능성 모델 이론을 배경으로 살펴보았다. 노출빈도와 노출형태를 달리한 6개 피험자 집단을 대상으로, 텔레비전 뉴스의 비디오 클립들을 시청하게 하였다. 4주간의 실험을 기준으로 1주일 전과 1주일 후 실시된 설문조사 결과를 바탕으로 집단 간 수용자의 태도를 비교 분석하였다. 분석결과, 대기오염, 수질오염 등 환경관련 텔레비전 뉴스가 환경단체에 대한 수용자의 태도에 영향을 미치며, 그 과정에서 영상과 자막이 수용자의 태도변화에 영향을 미치는 ‘시각적 점화효과(visual priming)’를 발견하였다. 그리고 수용자들의 환경관여도에 따라 텔레비전 뉴스의 시각적 요소가 환경단체 지지도에 미치는 영향에 차이가 있는 것으로 나타났다. 즉, 정교화가능성 모델 이론과 합치되게 관여도가 높은 집단보다 관여도가 낮은 집단에게서 영상과 자막이 통합적 주변단서로써 환경단체에 대한 태도에 더 큰 영향을 미친 것이다. 그러나 영상이 독립적 주변단서로써 환경단체에 대한 태도에 미치는 영향은 없는 것으로 나타났다.

There were not so many empirical researches which differentiate the effect of visual cues and auditory cues, even when there were vague claims that visual cues might have stronger effect than language text. This research explores the effect of visual cues such as imagery and subtitle of TV environmental news on the viewer's approval rating of environmental movement organization and also explores the interaction effect between issue involvement and visual cues with the theoretical background of priming and elaboration likelihood Model. The experimental design for this research is 2 frequencies × 3 exposure types. Therefore six experimental groups composed by 335 university students were exposed to each video clip which includes 3 political, 3 economic, 4 environmental items with different frequency and different type. The results of this experiment research showed that there was a clear effect of TV imagery and subtitle as visual cue on the viewers' approval rating of environmental movement organization. And it also showed an interaction effect between issue involvement and subtitle, imagery and subtitle as a unified peripheral cues on the viewers' approval rating of environmental movement organization. However the hypothesis of interaction effect between issue involvement and imagery as independent peripheral cues was rejected.

The purpose of this study is to introduce audiovisual translation as an effective teaching material for helping students achieve the basic understanding of the process of achieving equivalence in translation. This study identifies types/categories of translation where deverbalization and reformulation can be effectively utilized, shows how challenges in translating can be resolved through deverbalization and reformulation, and provides evidence that audiovisual translation is an effective training tool for students to utilize deverbalization and reformulation as a translation strategy. The results of the study show that the use of deverbalization and reformulation strategies can yield high-quality translation during audiovisual translation. The strategies were especially effective in the following areas: words/idioms, character relationship, sentence conversion /structural adjustment, cultural/historical background, domestification, addition, understanding context and humor. Through the use of audiovisual translation as a learning material, students are expected to better grasp the concept of deverbalization and reformulation and extend these strategies in other types of translation material.

We have analyzed 63 Korean noun culturemes in the historical film entitled “Forbidden Dream” (Korean title “Cheonmun”), which were classified into the three categories of job titles or ranks, concrete nouns and abstract nouns. We adopted the four translation strategies of transfer, transliteration, generalization and condensation for the analysis of those culturemes in the English subtitles, We found that the strategy of transfer, which translates culturemes literally, was employed much more than any other strategy. The strategy of transliteration was utilized as much as condensation. This fact reflects the characteristic of a Korean historical film which shows many job titles or buildings to be romanized. The generalization and condensation strategies were adopted to deliver difficult culturemes as easily as possible or as the result of the time and space constraints. Unfortunately, we found some inconsistency in translating some characters’ titles, which may confuse the story.

We analyzed 213 Korean taboo words in the film “Drug King,” and categorized them into six groups: Saeggi (65), Ssi/Ssibal (35), Ssibal+Noun (21), Jasik (19), Michida/Dolda (9), and Miscellaneous (64). Four translation strategies were observed: maintenance, omission, toning up, and toning down. The most prevalent strategy was maintenance (116, 54%), which involved literal translation to preserve the essence and cultural vibe of the original language. Toning down (63, 30%) was used more frequently than toning up (7, 3%) due to the presence of emotionally intense taboo language. Toning up was specifically applied to 'Ssi/Ssibal' and 'miscellaneous expressions.' Omission (27, 13%) was employed when it was impractical to translate Korean taboo language into English due to time, space, and subtitling constraints. Translating taboo language in the film “Drug King” is challenging because it requires a translator to find culturally appropriate equivalents that convey accurate meanings.

본 연구는 현재 지상파 DMB의 방송자막에 대한 사용자들의 인식을 파악하여, 향후 방송자막 디자인 개선 방향을 제시하고자 하였다. 먼저 방송자막에 대한 기존 연구들을 고찰하였다. 그 결과 프로그램 시청 시 방송자막이 중요한 역할을 하며, 글자 수의 최소화, 명료성을 높이는 글자체와 색상의 배열, 구성 요소의 재배치가 방송자막의 가독성을 높이는 주요 요소로 파악되었다. 그러나 실제 지상파 DMB 사용자들을 대상으로 설문 조사를 한 결과 화질, 화면 구성, 색상 및 명암 등에서 긍정적인 평가가 낮았다. 또한 방송자막의 가독성, 정보의 전달, 자막 구성, 글자체, 글자 수 및 글자 크기 등의 평가에서는 더욱 부정적인 것으로 나타났다. 앞으로 방송자막 형태 및 구성, 정보량의 제한, 글자의 선명성 및 크기, 색상 배치 및 선명성 등에서 지상파 DMB 화면에 적합하고, 사용자의 편이성을 고려한 자막 디자인의 개발이 절실히 요청된다.

This research aimed at providing the direction for future improvement of broadcast subtitle design by identifying the user perception on broadcast subtitles of Terrestrial DMB. First, we contemplated on the existing research about broadcast subtitles. As a result, we found out that broadcast subtitle plays an essential role when watching a program and that the minimization of letters, clear fonts and color arrangement, rearrangement of components were identified as main factors that increase readability. However, the terrestrial DMB user evaluation on image quality, composition, color and brightness was not that positive. In addition, the evaluation on the readability of broadcast subtitle, information transmission, subtitle composition, letter font, number and size of letter was more negative. Developing a subtitle design which considers user convenience and suits terrestrial DMB screens in aspects of broadcast subtitle form and composition, limit of information, clearness and size of the letter is required.

Controversy over subtitling has arisen more often in movies of the superhero genre. This paper assumes the controversy is due to the characteristics of superhero movies especially concerning intertextuality, which is the information and the knowledge collected through non-verbal elements such as universe (world-view: Marvel Universe, DC universe), franchise storytelling, and characters. Therefore, it is important to translate not only linguistic elements but also the interwoven relationships in the intertextuality. The paper examined the subtitles extracted from six superhero films that have been criticized for being mistranslated by the fandom. According to the analysis, most of the criticism was due to the incorrect reflection of non-verbal elements, that is, intertextuality, rather than the misinterpretation of the linguistic elements. The paper concluded that considering intertextuality is important in subtitle translation of superhero genre movies.

This study examines the translation of short-form subtitles, a recent video format that has gained widespread popularity worldwide. Short-form videos are constrained to a vertical format with a minimum duration of 15 seconds and a maximum duration of 10 minutes, and they are prevalent on social networking platforms such as YouTube and Instagram. In this context, our primary focus is on YouTube Shorts. YouTube Shorts are characterized by their brevity, necessitating the efficient conveyance of information within a limited timeframe. To examine the characteristics of subtitle translation in YouTube Shorts, videos with over 10,000 “likes” were selected and analyzed among those featuring English subtitles. Consequently, the characteristics of subtitle translation in YouTube Shorts can be classified into three broad categories. Firstly, additional content is incorporated into English subtitles to aid international viewers' comprehension. Secondly, lengthy or extraneous material is omitted entirely from English subtitles. Thirdly, subtitles serve as a vehicle for introducing new humor elements, replacing cultural references that may not be universally understood by international audiences with more relatable concepts.

한글세계화에 대한 일부의 식자층으로부터 반대의 의견이 있다. 주된 이유로 내세우는 것 은 한글이 세계어를 나타내는데 부적합한 문자라는 것과, <F, V>등의 영어발음을 한글로 는 정확하게 표현할 수 없다는 것이다. 이분들은 한글이 로마문자만큼 세계 다른 언어를 제대로 표현할 수는 없을 것이라고 생각 하고 있으나, 세계 공용문자인 로마 알파벳의 효용성에 대해서는 조금도 의문을 가져본 적이 없는 것 같다. 우리가 한글의 세계어 표현의 적합도를 알아보려면, 거꾸로 로마 알파 벳이 세계언어의 다양한 발음을 얼마나 정확히 나타내는지를 알아볼 필요가 있는 것이다. 중국어의 여러 방언과 아랍어, 동남아의 여러 언어를 표현하는데 있어서 로마 알파벳이 이들 언어를 제대로 표현할 수 있는 문자인가를 검토해 본 결과, 로마알파벳이 한글보다 더 우수한 점을 발견할 수가 없었고, 오히려 그때그때 잡다한 땜질로 로마자표현은 누더 기가 된 것을 알수 있었다. 로마자 표기법으로는..... 북경어의 경우에는 12종의 표기법, 광동어의 경우에는 13종의 표기법, 민남어의 경우에는 7종의 표기법, 아랍어의 경우에는 9종의 서로 다른 로마자 표기법이 난립하여 퍽이나 혼 란하다는 것을 알 수 있다. 이렇듯, 유럽인들의 알파벳 사용은 외국어원음 표현에 더 적합해서가 아니고, 제국주의의 식민지배와 침략, 그리고 자신 위주의 사고방식 등에 기인하는 것이며, 절대로 알파벳이 우수한 문자라서 그러한 것은 아니다. 이러한 세계적으로 보급된 로마니제이션은 당연한 상식으로 받아들이면서, 우리가 한글로 외국어를 표현하는 극히 자연스러운 시도, 즉 코리아니제이션을 궁색한 논리로 부정하여 서는 안될 것이다.

There have been oppositions by some highbrows to the globalization of Hangul (Korean Alphabet). They argue that Hangul does not fit for globalization because it does not reflect accurately each sound of foreign languages, especially for example f and v in English. They do not seem to believe that Hangul also can become a worldwide representative language as Roman alphabet. They never seemed to have doubt about efficiency of the Roman alphabet as a worldwide representative letter. Then, before we argue about the appropriateness of Hangul as a global letter, it would be better that we first check the potential of Romanization (the use of Roman alphabet for any languages). Through some researches about the adequacy of Roman alphabet in expressing the exact sound of various languages, I have come to the conclusion that Roman alphabet is no better than Hangul in such function and that Romanization has rather become tattered and ragged by improvised patches and repairs from time to time. For example, Romanization does not seem adequate especially in expressing various Chinese languages as 11 different types of Romanization have been suggested for Madarin, 12 types for Cantonese, and 6 types for Minnan Chinese. In addition, there are at least 9 different types of Romanization for Arabic language. As there have been even various Romanizations, there are usually more confusions and disorders, and even communications among different Romanizations are not possible. Romanization is thought to have become spread not as the result of its adequacy in expressing the other languages, but as the result of invasions, colonizations, and enforcement by the Europian imperialists. It cannot be allowed that one accepts faulty Romanization just as a common sense on one hand, but only despises and denies Koreanization on the other hand with no reasonable ground. Furthermore, it is our natural desire to use our own letter, Hangul as long as Hangul has functional adequacy and superiority over the Roman alphabet in expressing other foreign languages.

본 연구는 전화기 한글문자자판 배열체계에 관한 것이다. 피쳐 폰의 숫자 문 입력장치에 한국어의 언어문자인 한글의 특성을 고려 4x3키패드에 한 글 24자모를 새로 배열하고 , 문자입력 장치에 필요한 보조장치를 적용하고, 입력 알고리 즘을 개발하여, 사용자가 한글입력을 쉽고 빠르고 정확하면서 편리하게 다룰 수 있게 하 였다. 또한, 스마트폰, 태블릿pc, 네비게이션, 리모콘 과 같은 정보기기에도 사용할 수 있도록 하 였다. 본 연구에서 시제품 장치를 제작하고, 한글입력을 시연하였으며, 제조사의 입력기술과 비 교 표를 제시하였다. 본 과제를 통해 정보기기 사용환경의 변화와 발전에 따른 최적의 한글입력기술과 감성적 인 사용자 인터페이스 장치의 개선이 필요함을 보여 주었다.

In this paper, Arrangement of korean character(Hangul) on telephones with 4x3 keypad(key, touch pad, multi touch). One Hand Key Board suggested, Hangul keypad layout and input methods on array of Korean character( Hangul) on telephones. Korean alphabet have 24 Ortho_Phonic Hangul Jamo characters and assigned onto the 4x3 keypad with Hangul invented principle addition to led light ,speaker sound circuits with new technology New technology is very easy exactly and convenience Character input device on mobile-base smart-phone, tablet pc, navigation, remote controller, any other device We are demonstrated new methods with prototype Hangul keypad , performance comparison And, we should know how to use Korean alphabet character input system for new technology with emotional user interface