• Cross-Cultural Studies
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• v.50
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• pp.197-224
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• 2018

Korea's Kimjang and Japan's Washoku were listed in the UNESCO's Intangible Cultural Heritage of Humanity in 2013. Kimjang and Washoku not only have the meaning of a long tradition or national representative food. Additionally, UNESCO admitted the value of Kimjang and Washoku that allows members of society to share together and strengthen their solidarity through the use of it. And the identity of each nation is well represented in the Kimjang and Washoku effort. The Kimjang is managed by the Intangible Cultural Properties Department of the Cultural Heritage Administration. Likewise, the Washoku is managed by the Department of Washokusitsu of Japan's Agriculture Ministry. In regards to festivals, they are the most representative of Kimjang's contents in Korea. Kimjang can participate with a consensus of all people and must do it before the coming winter months. In this way, it is very suitable for the presentation of a festival. And there are many festivals related to Washoku in Japan, mainly manifested with local specialties. We have seen that Japan has many kinds of festivals, which encourages it to be called and known as the country of festivals. And Washoku is being fostered as the core content of the 'Cool Japan Strategy' because it has become world-renowned since it was listed as an intangible cultural heritage.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.577-582
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• 2021

Recently, with the development of AR, VR, and smart device technologies, the demand for services based on non-face-to-face environments is also increasing in the fitness industry. The non-face-to-face online home training service has the advantage of not being limited by time and place compared to the existing offline service. However, there are disadvantages including the absence of exercise equipment, difficulty in measuring the amount of exercise and chekcing whether the user maintains an accurate exercise posture or not. In this study, we develop a standard exercise program that can compensate for these shortcomings and propose a new non-face-to-face home training application by using a deep learning-based body posture estimation image processing algorithm. This application allows the user to directly watch and follow the trainer of the standard exercise program video, correct the user's own posture, and perform an accurate exercise. Furthermore, if the results of this study are customized according to their purpose, it will be possible to apply them to performances, films, club activities, and conferences

• 지역과문화
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• v.8 no.2
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• pp.21-48
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• 2021

This paper discusses the possibility of developing literary villages and book towns by examining the feasibility of place marketing for culture and art spaces from multiple perspectives. The aim is to point out the practicability of literary villages, moving away from building halls of fame for individual writers and artists and toward creating whole villages functioning as the centers of their local cultural scene, as well as suggest ways for contributing to regional revitalization and development of culture and art programs. To this end, "Kim Yujeong Literature Village," "Lee Hyo-seok Culture and Art Village," and "Hwang Soon-Won Sonagi Village" were selected; based on these, case studies were conducted and their actual operational status was explored. As a result, it was discovered that literary villages would function well as the centers of their local community if meaningful and interesting content is continuously developed with quality enhancement. This suggests a positive impact of place marketing, and to achieve this, it is necessary to open a new paradigm of local culture by differentiating from other cultural industries and securing a position as a new industrial sector. To this end, the paper suggests approaches such as small local literary groups with direct or indirect links to the literary village, or application of space and related works in the literary village with local education.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.105-120
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• 2020

This study explores the process of the actual content production and distribution, by creating a YouTube channel to promote the popular music contents produced by the researcher, which thus reflects the reality where the production of video contents rapidly increases. A YouTube channel titled "Alida Music", of which the focus was to promote indie musicians, was created on February 2019. The contents of 10 indie musicians were produced in one-take live format. The information of the indie musicians was displayed in the form of a screen business card, with their e-mail address and SNS account at the top. Therefore, this promotional design was named "Card Live". Promotional video contents marked with the QR code in the lower right on the screen were produced, along with the promotional phrase "Communicate directly with the artist through the QR code", which allows viewers to watch other contents of the indie musician when they scan the QR code. This research conducted a study on how to improve and promote "Card Live" contents of "Alida Music", which were produced through this process. A group interview targeting five indie musicians, among whom one participant deemed significant was selected to conduct a one-to-one in-depth interview. As a result of the study, the following three conclusions were drawn. First, YouTube was found to be the medium with the greatest influence and highest efficiency at the lowest cost. Second, the evaluation of the participants on "Card Live" were divided into the three categories: need for one-take live, the design elements of "Card Live", and scanning issues of the QR code. Third, there is a need for promotional methods that can effectively utilize the media aspects of YouTube: the channel management issues such as raising public awareness as well as the number of subscribers of "Alida Music" should be resolved and measures to effectively use various media including other SNS should be developed. In terms of its content, it is imperative to recruit diverse performers to make various contents, as well as to come up with ways to link "Card Live" contents with offline. Based on these results, "Card Live" contents should be further revised and complemented in order to provide interesting contents to consumers, which will further develop "Alida Music" as a platform where various musicians and companies meet, thereby inducing contracts with popular music agencies and generating advertising revenues. However, since this study was carried out only with the limited number of participants, future studies should include more participants to bring forth a variety of promotional plans and improvement measures. Also, in the era of consuming contents through smart devices, the fact that some features of "Card Live" were available only on PC, did not fully reflect the characteristics of the times. In the future research, various contents that smartphone users can access and view freely without PC should be produced.

• (The) Research of the performance art and culture
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• no.38
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• pp.349-383
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• 2019

This discussion is focused on Donghaeanbyulsingut's 'gutchum-pan to pray'. 'Gutchum-pan to pray' is repeated in almost all of the geori in Byulsingut, so it is a crucial chum-pan that can never be disregarded in understanding Byulsingutchum. Meanwhile, it supposes that Donghaeanbyulsingut is grounded on the activity of producing 'praying (words) and dance (motions)' within its relationship with the structure of capitalistic society along with the context of traditional rituals. The motion that is newly generated as a response to the concrete expression of 'praying' conducted by a mudang (a shaman), that is, the expression coming from the inside associated with the praying is seen as gutchum. This dance is bound to be in competition and interest among shaman groups, and they tend to influence one another. If praying leads to dance, a mudang can gain profits from capital as well as the value of labor. When the mudang succeeds in forming a bigger bond of sympathy with her praying, the object of praying gets more eager to select byulbi and dances a heoteunchum (impromptu dance) more vigorously. This means that a mudang's ability to perform a ritual is associated with the object of praying's consumption. With his impromptu motions, the object of praying comes to go into 'the field of consumption' within the structure of capitalistic competition before he is aware of it. Behind the communication that praying leads to dance, a lot of things are associated with one another organically. 'Gutchum-pan to pray' is generated by the continuous movement of diversity and unity that the time has within the ritual of the mudang and the object of praying. It continues to create the future 'self' that is different from the present 'self', and it means that he expects variability from the present 'self' through 'gutchum-pan to pray'. The mudang also prays for him arranging the variability of the other (the object of praying) inside her labor. In a big picture, of course, the mudang expects the variability of herself, too, which is connected to the value of her labor. The variability that they expect forms a crucial axis that determines where the flow of time and space that the 'gutchum-pan to pray' has is directed to. The contents of praying are directly related with the villagers' lives, and what leads to dance is mostly related with their jobs. This implies that what the mudang experiences in her everyday consuming activity is directly associated with the villagers' activity for earning money. In other words, the contents of that praying change constantly according to the flow of capitalistic economy. Also, those striving to respond to it before anyone else also expect better life for them by substituting their self to the 'gutchum-pan to pray' eagerly. If so, who are the ones that generate 'gutchum-pan to pray'? This can be understood through relationship among mudangs, relationship between the mudang and villagers, and also relationship among villagers. Their relationships can never be free from the concepts like labor in capitalistic society, consumption and expenditure, or time; therefore, they come to compete with the other, the present self, or the better self within the diverse relationships. This gets to be expressed in any ways, words or motions. And the range that covers the creation of either group or individual 'gutchum-pan to pray' in the village is the village community. Outside the range, it is upsized to the competition of the village unit, so individual praying may become diminished more easily. Although mudangs pray in each geori, it does not mean all praying leads to dance. Within various relationships between mudangs and villagers, 'gutchum-pan to pray' comes to be generated, repeated, and extinct. As it is mitigated to more positive competition, it does not lead to gutchum any longer. In other words, repeating 'gutchum-pan to pray' previously created has turned the object of praying into the state different from the former. Also, the two groups both have experienced the last step of Byulsingut, and at that point, praying does no longer lead to dance. In other words, from the position of the shaman group, it is the finish of their labor time and ritual performance, and from the perspective of the villagers, it means the finish of consuming activity and participation in a ritual. The characteristics of 'gutchum-pan to pray' can be summarized as follows. First, it goes through the following process: competition in the village group → competition in the group → competition among individuals. Second, repeated praying does not lead to 'gutchum'. Third, in the cases of praying for each of the occupation groups, the mudang can induce a bond of sympathy from the objects of praying directly, and this lead to dance. Fourth, the group that fails in being included in the category of praying gets to be alienated from 'gutchum-pan to pray' repeatedly.

• Fashion & Textile Research Journal
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• v.6 no.1
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• pp.41-50
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• 2004

This research proposes the on-stage costumes for the play Hamlet of Shakespeare performed by Yunheedan Guhri Pae - the Street Theater Troupe. Stage costumes have an important role in displaying the characteristics of each characters to the audience and has big visual effects. However, in order to design the costumes in the object viewpoints of the audience, the survey on the images of the characters who had actually watched the performance was taken place and proposed the costume design according to the results of the survey. Hamlet a: This result was applied to propose a sweater in black color, black leather pants and vest. Hamlet b: This result was applied to propose hooded coat in purple in middle level of brightness and color spectrum and yellow coat. For free image, loose pants in blue and vest in the same color tone were proposed. Gertrude a: This result was applied to use purple (violet) with reddish tone to propose the formation of a dress applying tailored suit. Gertrude b: This result was applied to propose purple gown and the one-piece dress with black laces. Ophelia a: This result was applied to propose feminine white dress and cape in purple color tone. Ophelia b: This result was applied to propose dyed and weaved clothes. Through the surveys as above, the images of each character was driven in adjectives, and using the results driven from the brightness, coloration, and color, color images were proposed. Only one costume cannot make up for the stage costumes and because it exists as an element of stage production, it is true that costumes are limited in some areas. However, that limit can become the motive of the costume. There is a limit, which the designer cannot produce the costumes as he or she had designed but I believe it is the center of the on-stage customers to display the characteristics of the characters according to the given concept. The limit of this research is the fact that because the costumes were designed so they fit the conditions already given, thus it was difficult to regard the process of designing and producing the costume as a project done according to the interaction. And in the future, if it is possible, I wish for the joint research with the people responsible for stage art to take place as a practical stage art. It was possible to produce practical costume since they were produced for actual performance and the production of costumes considering the dance steps, line of flow, and acting, was able to reduce the trial and error on stage. Through this research, I felt that the understanding and smooth interaction on diverse other areas not limited to the costume design should be taken place and believe that this was a research that proposes new research method since there had been only a few previous research regarding the on-stage costumes for actual performances. Therefore, this research had depended on the surveys given to the audiences to endow objectivity, however, I wish this research can contribute to defining effective process and methods for the on-stage costumes with more active researches with diverse methods and in diverse areas. I am sorry that the costume production for all the characters and all the scenes in Hamlet couldn't be done due to many limitations. As the following research assignment, I am planning on designing the costumes for all the scenes.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.247-256
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• 2019

The importance of the convergence education is getting more and more emphasized. But the university convergence education has not yet met today's needs. So this study is focused on showing effective practice methods and finding development directions of the university convergence criticism education. One of a significant trend of the contemporary academic education of liberal arts is the tendency of the convergent and integrative studies. What is essential in the convergent and integrative studies creativity. The zeitgeist of knowledge-based society is change and innovation. In response to its request, college education is being asked to do convergence education, And general education as the basis of convergence education is strengthened.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.307-319
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• 2019

This study aims to provide the basic materials for the development of leisure and tourism contents in connection with Osaek cableway for the revitalization of Osaek District. For such a purpose, the following policy directions were presented through the analysis of the present situation and conditions of Osaek District, the direction of development of leisure and tourism contents of Osaek District, etc. The first is increasing the participation of local residents and reinforcing their capabilities. The suggested promotion plans are ① establishing organizational system and strengthening support, ② reinforcing the capabilities of local residents and ③ constructing networks with external human resources. The second is setting the guidelines for contents development. It was proposed to prepare contents for leisure experience using the natural environment of Osaek District in response to the trend of increase of people who enjoy "contents using culture and arts" and leisure. The third is typological approach to contents. It was proposed to develop cultural contents with the theme of Osaek such as "Osaek Light Festival", "Osaek Concert", "Osaek Photo Exhibition" and "Osaek Good Men and Women Contest" for the promotion of the brand of the place name of Osaek and the creation of the "Picture Book Village" for the compilation of the history and culture of Osaek District with pictures. The fourth is securing marketing channels. For this, it was proposed to produce the website of Yangyang County or a website tentatively named as "Osaek-ri with Beautiful Osaek" and introduce an integrated travel product (transportation + lodging + foods + experience (hot spring, mineral water therapy, leisure experience, etc.) + purchasing local specialty products, etc.) composed of the leisure and tourism contents, transportation, lodging, foods, etc. of Osaek District through travel agencies. The final policy direction presented was phased implementation of the development and operation of the contents. Proposed policies include support of a consulting project to upgrade the organization of local residents; implementation of "Tourism Dure (Cooperative)" project for the solution of the problem of tourism in Osaek District by the residents themselves together using the space of culture and arts made by remodeling idle public and private facilities after benchmarking exemplary places; system improvement for the introduction of leisure and tourism contents appropriate for local conditions; and the establishment of a master plan for the introduction of various leisure and tourism contents in Osaek District.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.313-323
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• 2019

For the actors on video, facial expression acting can easily become 'forced facial expression' or 'over-acting'. Also, if self-restraint is emphasized too much, then it becomes 'flat acting' with insufficient emotions. By bringing forth questions in regard to such facial expression acting methods, this study analyzed the facial expression acting of the actors in genre dramas with strong commercial aspects. In conclusion, the facial expression acting methods of the actors in genre dramas were being conducted in a typical way. This means that in visual conventions of video acting, the aesthetic standard has become the important standard in the facial expression acting of the actors. In genre dramas, the emotions of the characters are often revealed in close-up shots. Within the close-up shot, the most important expressive medium in a 'zoomed-in face' is the 'pupil of the eye', and emotions are mostly expressed through the movements of the eye and muscles around it. The second most important expressive medium is the 'mouth'. The differences in the degree of opening and closing the mouth convey diverse emotions along with the expression of the 'eye'. In addition, tensions in the facial muscles greatly hinder the expression of emotions, and the movement of facial muscles must be minimized to prevent excessive wrinkles from forming on the surface of the face. Facial expressions are not completed just with the movement of the muscles. Ultimately, the movement of the muscle is the result of emotions. Facial expression acting takes place after having emotional feelings. For this, the actor needs to go through the process of 'personalization' of a character, such as 'emotional memory', 'concentration' and 'relaxation' which are psychological acting techniques of Stanislavsky. Also, the characteristics of close-up shots that visually reveal the 'inner world' should be recognized. In addition, it was discovered that the facial expression acting is the reaction acting that provides the important point in the unfolding of narratives, and that the method of facial expression and the size of the shots required for the actors are different depending on the roles of main and supporting characters.

• Korean Security Journal
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• no.11
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• pp.203-226
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• 2006

A highly sophisticated expertise and systematic and integrated management of security operation are essential for a crowded stadium. a special object of security guarding. Nonetheless, the recent incident in a singing concert hall reveals the overall problem like the lacking safety management system. lacking deployment of professional security personnel, absence of safety manuals and safety measures, as well as the lack of professionalism of private sector security companies. In this study, we presented three categories that needed improvement, like the legal and institutional improvement, improvement of policy and improvement of operation which are required to set up the model to operate the optimal private sector security duties. For the revision of law and institution for a better and more desirable method, we discussed the revision of related laws and regulations pursuant to the security operation at places where events are held, including the revision of law on security guarding work, regulation on common housing management, uniformity of security guarding, and law on performance. For the improvement of policies, we discussed the introduction of security consultants, strengthening the security instructor system, expansion of relevant organizations, establishment of mutual cooperation, privatization of profitable events, improvement of awareness about the security activities provided by private sector, policy for the professionalism of private security operation, expansion of security exhibition and seminar. For the improvement of operation. we discussed professional security techniques. such as the technique of security consulting, the application of CPTED technique, the technique for the integration of system, the method of operation, the establishment of a system to support public security operations and volunteers, establishment of a manual for security guarding performance, modernization and high tech-oriented equipment, organization of security guarding entity in which the industry, academic society and government participates together.