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Purpose This study compares the expected nurse-to-patient ratio, penalties for violating these regulations, and the laws enacted in the medical and nursing fields in Korea and advanced countries like Germany, Australia, the United States, and Japan. Methods This study deployed an integrative review method and used search terms such as “nursing law,” “nurse ratio,” “nurse,” “nurse staffing,” “health,” and “staffing” to find articles published in English, Korean, German, or Japanese through Cumulative Index to Nursing and Allied Health Literature Plus with Full Text, the Westlaw (International Materials-Jurisdiction) site, US government and state sites (federal parliament, National Conference of State Legislatures), and Google Scholar. Results Compared with medical laws in other advanced countries, Korean laws are quite crude and its nurse-to-patient ratio does not reflect patients' status. Korea also lacks strict penalties for nurse staffing ratio violations. Conclusion Korea requires a strong regulatory apparatus for nurse staffing in health-care organizations to improve the quality of its health-care services and patient safety.

This paper examines Pinter’s cinematic politics in his early screenplay The Servant and later screenplay The Trial. Harold Pinter is a political playwright of a kind as he himself answered the question of his politics. He expressed his indirect dramatic politics metaphorically in his early plays classified as comedy of menace, presenting the theme of dominance and subservience and the symbolic aspects of the key concept room and the conflict between its occupant and invader. In addition, he revealed direct dramatic politics in his later political plays exposing irrationalities of reality and the unjustifiable political questions of society, despotic states, or organizations. Similarly, Pinter’s early screenplay The Servant includes the indirect and metaphorical politics of his early plays, and his later screenplay The Trial deals with the direct politics of his later political plays. This paper focuses on how Pinter transformed dramatic politics into his screenplays by modifying original novels.