• The Journal of the Korea Contents Association
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• v.14 no.9
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• pp.85-92
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• 2014

This study analyzes what kind of representation strategies make popularity in Silence. As audiences come together in cyber public sphere, 'participatory spectatorship' is made. Its sources are classical narrative mode and collective memories which are the devices to goad audience to anger. Silence reveals self-reflexivity because fact-based film has effect on allowing the audience to be aware of the reality constantly. However, the devices which maximize audience's anger aroused ethical controversy. Silence's unethical expression is the strategy for representing the popularity and the methodology for social ethics.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.241-249
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• 2016

This study focuses on Korean independent documentary Unnie dealing with prostitution in Korean society. Not only does it discuss profuse discourse about Unnie such as politics of the film, Korean independent documentary as a tool of struggle, an organized narrative for anti-prostitution and social power of the film but also it deals with prostitution matters related with the film such as prostitute rights, anti-prostitution and pro-prostitution. And it diagnoses possibilities of modifying audiences' recognition and participatory spectatorship with Unnie, conducting a survey of 202 undergraduates.

• Cartoon and Animation Studies
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• s.21
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• pp.1-17
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• 2010

As animation emerged as a high value-added content business, more studies are conducted focusing on the fact that the key to the success of animation is not a story but a character. This study aims to examine the characters of , the globally loved animation, and figure out its interactive way of attracting viewers based on Spectatorship Theory, so that it can help set the nation's TV animation series to be made on the right track. To achieve this goal, it will explore various aspects including the concept of animation character, the relations between ideology and character, and the changes in design according to a social phenomenon, then based on Spectatorship Theory will analyze and suggest how the characters of fulfill the required conditions to attract viewers. In addition, it will examine the wide application of the characters of . In conclusion, unlike theatrical animation, TV animation has a characteristic that it can easily and repeatedly deliver messages to viewers over a long time, however, domestic TV animation turned out to fail to utilize the advantage. In other words, while its character has distinct individuality, it is not supported by creative and solid story line, and the character is not attractive as much as the characters of which successfully evoke sympathy from viewers. In animation, arousing sympathy from its viewers or audiences is very important, so a character that well reflects social discourse is an integral part of it. Therefore, in-depth and specialized study on animation's character is highly required for the sustainable success and growth of domestic animation.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.142-150
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• 2012

The development of technology in traditional media is affecting a variety of ways. In particular, the influence of digital images, the animation turned to a realistic 3D animation. With the release of realistic 3D animation , Robert Zemeckis received much attention but the audience did not like the animation of this style gradually. Robert Zemeckis gave up 3D animation after that drew attention for having a huge production budget while failing at a record-setting proportion in the American box-office. A digital actor in realistic 3D animation looks like real but the audience know that it is not real and they know that realistic 3D animations and live-action movies are different. So the audience will experience an emotional conflict like confusion, hesitation. The visual completion in realistic 3D animation is due to the development of technology and technology must develop to connect the audience acceptance and movie.

• Korean Association of Arts Management
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• no.57
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• pp.85-126
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• 2021

This study aims to examine the interaction between jazz musicians playing in domestic jazz clubs and audiences visiting jazz clubs in depth. This study conducted an in-depth interview, a qualitative research methodology, to find out the subjective views of jazz club musicians and audiences about jazz club performances, and analyzed the contents and presented the results. The results of this study are as follows: First, jazz musicians perceived jazz clubs as the center point of their musician careers, and from the perspective of the audience, jazz clubs were a place where jazz lovers gathered voluntarily, and where they could enjoy musical communication in a comfortable atmosphere. Second, jazz club performances gave jazz musicians the autonomy to play and considered them suitable for creating optimized sounds, and the audience recognized that jazz musicians could experience performances vividly on stage close to the audience. Third, the way jazz musicians interacted with the audience was active for musical communication with the audience, and the audience preferred the way that interaction could contribute to their performance, and the audience recognized the interaction through musical communication with the musician and the musician's consideration for the audience. Fourth, jazz musicians played a major role in realizing a performance in which interaction with the audience was complete, and audiences perceived interaction as a joy of improvisation, a bond with jazz musicians, and a special experience. This study confirmed the jazz club's status as a cultural space for the public's jazz enjoyment as well as a performance base that ultimately promotes the development and spread of jazz gods in Korea, and it is meaningful that it can serve as a guideline for jazz performance planning and jazz club operation from an art management perspective.

• (The) Research of the performance art and culture
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• no.32
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• pp.651-700
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• 2016

The keyword of contemporary art in 21st is audience participation. London has emphasized the importance of audience participation since 2000. The National Theater of London is trying a new method, which is live performance to search new audiences. Also, they are trying to cross the boundaries between 'stage' and 'spectator'. This leads the other theaters to search new audiences and try new genre of performance. Therefore, they establish a new form of performance, which is that audience actively moves and find a new story in a theater. For example, "environmental theater" is the one. This theater escapes from the traditional stage, but it is based on "site-specific performance." Lots of new forms of theater have emerged. In this study, I focused on one of these new forms of theater, which is "Punchdrunk." "Punchdrunk" was founded by few students graduated from London University's Laban Center in 1999. They started at an empty stage in small school with only three audiences. 7 years after, it became one of major theaters in London. 10 years after, it showed their performances in the United state. Since then, their performances in New York have never been stopped. More strikingly, for last decades, this theater has been always full. In this study, I reasoned that the key of "Punchdrunk" success is audience participation. Therefore, I investigated the features of Punchdrunk theater and how they engage their audience in this performance. In this study, I focused on one of their performances, . Also, I categorized the audiences in three different ways: narrative visitor, walking visitor, and engaging visitor with mask. Three-part transition of Disney Theme Park from Louis Marin was applied to study "narrative visitor." For "walking visitor", Normadism from Gilles Deleuze was applied. For "engaging visitor with mask", Voyeurism was applied.

• The Journal of the Korea Contents Association
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• v.11 no.9
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• pp.106-117
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• 2011

The purpose of this study is to examine factors that affect 3D stereoscopic movie audiences' satisfaction in Korea, and to provide strategic solutions to improve audiences' satisfaction. According to study about movie audiences' satisfaction, factors that affect movie audiences' satisfaction are separated to movie internal factors, movie environmental factors and movie audience factors. And leverage of movie internal factors is bigger than either. But 3D stereoscopic movie is different from ordinary movie in shooting, screening, seeing and recognizing method. So it is expected that movie environmental factors and audience factors' influence is bigger than internal factors. So this study carried out a survey targeting 3D stereoscopic audiences. Main result of this study are shown as follows. First, the method to reduce visual fatigue is necessary for satisfaction. Second, it is required that improvement method of seat arrangement to provide high quality 3D stereoscopic contents. Third, level of 3D stereoscopic movies' price need to adjust to valid level.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.139-150
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• 2015

This study highlighted influences which affect purchase intention of audience to viewing performance. And after grouping audience types by applying the cluster analysis to samples which are collected by survey, this study examined how purchase intentions influence audience to viewing performance by each audience type. Thus, to improve the reliability to classify audience type, the sample was selected by considering neither age group nor previous experience of viewing performance arts. Factor analysis and reliability analysis was performed to analyze the effect of purchase intention according to the type of audience. And we used AMOS program to verify using SEM(Structural Equation Modeling) how affect it was with moderating variable of audience type. Through surveying and analyzing th results, we confirmed that viewing motivation and quality of performing work have significant effect on purchase intention and significant moderating effect according to audience type. Therefore, we contribute to make suitable strategy that they figure out audience type, when performing art organizations make marketing strategy.

• The Journal of the Korea Contents Association
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• v.12 no.9
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• pp.106-115
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• 2012

This paper focuses on the systematic conceptualization of the 'contents' through the differentiation between the meanings of the work of art and the contents. The 'contents' are referred to as various media products, but they are all the audience-oriented work of art. From the beginning of its birth the film medium turned out to be a kind of contents, which is involved in the specific role of audience. It also implies that the film medium could not exist without the interaction of the media text and audience. In order to understand this context, this paper analyzes the film of Alfred Hitchcock.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.139-155
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• 2019

The Plays of Kang Yang Won and the Theatre Troupe Dong don't aim to use the body as a system of sign in order to express the mind. They want to show the physical presence of an actor which induces sensuous perception of audience, so the possibility of the aesthetics of performativity can be open. Therefore, the properties of body sound and space have important meaning. At the same moment the body of audience has to be open to the perception. It means that the audience has to be ready to perceive the energy breathing density and tension etc. which the body of actor causes. As a result, the audience experiences a simultaneous opening of consciousness and perception: simultaneous opening of consciousness and perception gives the chance of receiving the emergent meaning.