• The Journal of the Convergence on Culture Technology
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• v.8 no.1
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• pp.427-434
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• 2022

The purpose of this study is to create a self-portrait that provides an immersive experience that immerses the viewer into the problem of self-awareness. We propose a method to implement an interactive self-portrait by using audio and image information obtained from viewers. The viewer's voice information is converted into text and visualized. In this case, the viewer's face image is used as pixel information composing the text. Text is the result of a mixture of one's own emotions, imaginations, and intentions based on personal experiences and memories. People have different interpretations of certain texts in different ways.The proposed digital self-portrait not only reproduces the viewer's self-consciousness in the inner aspect by utilizing the intertextuality of the text, but also expands the meanings inherent in the text. Intertextuality in a broad sense refers to the totality of all knowledge that occurs between text and text, and between subject and subject. Therefore, the self-portrait expressed in text expands and derives various relationships between the viewer and the text, the viewer and the viewer, and the text and the text. In addition, this study shows that the proposed self-portrait can confirm the formativeness of text and re-create spatial and temporality in the external aspect. This dynamic self-portrait reflects the interests of viewers in real time, and has the characteristic of being updated and created.

• Archives of design research
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• v.18 no.2 s.60
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• pp.37-46
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• 2005

Today's advertisement is dominated by visual images, which deliver messages in the most efficient and engaging way. Vivid and live images, through multimedia, attract the viewer to consume the products being advertised. In this course, the effect of 'Verfremdung' or alienation is often detected. This terminology was at first used in a epic play of Bertolt Brecht to signify a specific effect to block the empathy of the audience by reminding them of their position as the audience separate from the play. 'Verfremdung' helps them to have a sense of objectivity and critical attitude toward the performance. Multimedia commercials nowadays exhibit such a quality together with 'viewer participation:' criticism on reality: and 'speed.' In an advertisement for Shinsegi Communications' mobile system titled <017-I-Touch series, the hand transformed into a web>, the copy, 'my blood type is 'i', ' is accompanied by six unrelated fictitious scenes in which the same ocean appears as a common denominator. Because there is no connection between the scenes, free imagination of the viewer has to be involved and thus plays a significant role in making them into a context. This fact dearly exhibit some characteristics of post- modern advertisement. Momentary 'Gap' and 'Difference' between scenes contribute to 'Verfremdung' or alienation' that makes it hard for the consumers to comprehend the content on the spot. Such an uneasy situation, however, keeps the viewers thinking about the advertisement itself. While repeatedly exposed to the alienated images, the viewers come to get involved in the advertisement, trying to make the fragmented images into a coherent context. In addition, the leaps between the scenes produce a sense of 'speed' in a context, which adds more impact to the way of delivering messages using multimedia. With the help of multimedia, 'Verfremdung: which was originally intended to bring about objective and critical altitude of the audience in a play, plays a crucial role in attracting the viewer's attention and conveying a specific message in a moment in contemporary advertisement.

• The Journal of the Korea Contents Association
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• v.13 no.3
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• pp.65-75
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• 2013

Movie captured audience's whole sense organs to the screen which is made up of visual story-telling decorated by color, sound, and smell. The audience rediscovered native emotions(pleasure, fear, terror) suppressed and left in the compressed world of space and time, that is to say a movie world separated from the real world, by being immersed in the movie story. This study revealed audience's feelings of pleasure and fear by analyzing the movie . First of all, the pleasure would be discussed in terms of Nietzsche's "the will to power." Nietzsche defined something to breathe, move, and will as being alive, and he insisted that its power to life is 'the will to power.' Human beings wish to have power and want to increase it: pleasure, the real motivation of human behaviors and phenomena. The movie well revealed the pleasure by showing nonperson's challenge and victory against social rulers. Second, the fear and terror of the audience will be discussed in terms of in Lacan's psychoanalysis. Lacan extended Freud's id, ego, and superego into the worlds of reality, imagine, and symbol, and suggested a father in symbol world among those worlds. He suggested as a basic and connecting instrument of the socialization just like Signifi$\acute{e}$ and Signifiant, Saussure' basic linguistic structure in "Cours de lingustique g$\acute{e}$n$\acute{e}$rale"(1916). Because father is the symbol and the metaphor of law, the absence of him and resistance against him means obstacles of social stabilization. Finally this paper will also discuss that the fear from the absence of law and the pleasure provoked by self-preserving instincts, that is to say natural feelings, are connected to values of progressivism and conservatism.

• Cartoon and Animation Studies
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• s.26
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• pp.1-30
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• 2012

The purpose of animation is to give interesting stories to an audience through motion. To achieve the purpose, over the past century since its inception, animation has adopted many kinds of technologies, and thus developed diverse narrative methods and visual expression techniques. In addition, with the advancement of expression techniques, all elements making up animation have gradually been systemized, and at the same time, have helped express the worlds beyond the reality. As a result, people have faced the era when an audience can watch everything imaginated by an animation director on a big screen. These days, more efforts have been made in order for the audience to feel much more than enjoy pictures moving in a frame. In other words, the purpose of the animation is changing from the passive viewing of animation to feeling and sensing stuffs through the animation. In the center of the changing process is 3D technology which gives new interesting to an audience. Sometime ago, a 3D animation movie was produced in Korea. But it did not bring out box-office profits, for it failed to give satisfaction to an audience who expected high perfection and beauty being able to be rivalled to those of international 3D animation movies. The failure is attributable to the fact that the domestic 3D animation production industry is merely in the early stage, and has not sufficient human resources, technology, and experiences in producing 3D animation films. Moreover, the problem is that most studies on 3D focus on the technologies related to reenactment, but that few studies on the images, which an audience directly faces, have been conducted. Under the domestic circumstance, the study on stereoscopic image screen of , a 3D stereoscopic animation film which was released in 2010 and has been seen as the best successful 3D stereoscopic animation, is worthwhile. Thus this thesis conducted theoretical consideration and case analysis focusing on the visual direction that creates the pictures to deliver abundant three dimensional effect so that it can be used as a basic data when producing high quality-domestic 3D animation and training professional labor forces. In the result, it was found that the 3D animation was not a new area, but the area which has been expanded and changed by applying the characteristics of 3D image based on the principles of the existing media aesthetics. This study might be helpful to establish the foundation of the theoretical studies necessary for producing 3D animation contents for realizing the sense of reality.

• The Journal of the Korea Contents Association
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• v.11 no.1
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• pp.193-201
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• 2011

In this study, we consider the evolved interactivity at the Artificial Life Art beyond 'open interactivity' as 'closed relationship' between viewer/participant and artwork by immersive and interactive features of digital media art. In order to consider this evolved interactivity, we survey the theory of artificial life of which result of many studies like biology and computational science. And then we analysed characteristics related artistic context of artificial life at the autonomy and emergent behavior of artificial life. Especially, we research the artworks of interaction with ecologies and of living in outside(not in- silico) among the artworks of officially adopting an artificial life arts in 'VIDA : Art and Artificial Life International Awards'. And we are going to understand the relationship of emotional subjects between viewer/participant and artwork, and a step further to understand the diverse relationship of symbiosis and co-evolution of the technology and human.

• The Journal of the Korea Contents Association
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• v.19 no.3
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• pp.197-212
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• 2019

This study points out how the two conflicting elements of empathy and estrangement that constitute the dual structure of are incorporated by dialectic; finally, this paper explores the spontaneous estrangement effects' meaning and value on the point of view of reception aesthetics. As results of these studies, First, the Brechtian set of estrangement effects techniques showed that in it could function as an empathy technique for audiences. Second, the role of Sanbazi to increase the audience's participation was to produce both the immersion effect and the estrangement effect simultaneously. These double features of Sanbazi are dialectically incorporated and simultaneously bring about both the social reality reflection and enjoyment of the audience. Third, the puppetry is valid as not a way to describe reality but one of the ways to look at social reality. Conclusionally, in terms of producing counter-discourse, the puppet show has more extensible than any other form of performance with regard to expression.

• Trans-
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• v.14
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• pp.123-155
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• 2023

This study analyzes the characteristics of the social value creation process through the collective appreciation of film. It focuses on the historical development of community cinema in Japan. In modern-day Japan, where digital video is easily accessible and the use of private, personalized media spaces widespread, a sub-culture of collective film appreciation is spreading, as more and more Japanese begin to attend movie screenings in non-commercial theaters. In addition, Japanese community cinema center has begun to integrate and support this viewing experience, which has come to be known as community cinema. A literature review revealed the following characteristics of community cinema. First, local theater screening groups or appreciation groups cooperate with residents to establish and operate movie theaters. Second, these spaces create theoretical and practical participatory learning opportunities that foster understanding of and participation in film culture, through large-scale associations with organizations or institutions that offer viewings. Third, based on collective appreciation, the film culture created through repeated joint viewings produces a social arena in which community can be realized. In these communities film can be put to socially productive uses, such as problem solving.

• Journal of Digital Convergence
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• v.12 no.1
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• pp.295-303
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• 2014

This exploratory study deals with the digital policy proposal through emotional perception of real name SNS and WOM effect. Research was based on the audience trends analysis of the movies having official SNS sites and the movies not having official SNS sites among the opened 90 movies in Korea from 2012 to 2013. Therefore, researchers confirmed that the representative real SNS, facebook was utilized as emotional marketing tools and tried to analyze the effectiveness of SNS critically. The research results are the follows. First, the movies to actively utilize facebook showed statistically significant differences in terms of daily, weekly audience and seat share (occupancy ratio). It is indirectly confirmed that real name SNS such as facebook is much effective in WOM marketing. Second, in the daily trends and weekly trends, the movies showed a similar pattern and above all, the movies to actively take advantage of facebook maintained their audience trends. Thus the government and the corporation have to understand the emotional WOM effect of real name SNS for policy effectiveness. Therefore this study gives the contribution practically for boost up the policy effectiveness through emotional ripple WOM effect of the strength of weak tie of real name SNS.

• Cartoon and Animation Studies
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• s.29
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• pp.77-102
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• 2012

Interactive Media Art has been developed a lot in digital age. Especially, the audience try to make interactions by accessing the world of art as one of main interacting figures, while they used to be totally separated from the art in traditional art. Also, it is one of exclusive features distinguished from the other art genres. In this thesis, the intercommunication process of interactive media art is classified and compared with Merleau-Ponty's corporeity phenomenology theories. Merleau-Ponty's corporeity phenomenology insists integrated perception through body against the western intelligence philosophy focusing on binomial reasons. Merleau-Ponty's corporeity phenomenology, which suggested the new perception way towards the art, is analyzed in this thesis by comparing it with detailed factors of Intercommunication process of Interactive Media Art. The Intercommunication process of Media Art is classified into , , , , . Additionally, they are studied and compared with the concept of , , , , out of Ponty's corporeity phenomenology theories. Therefore, it is concluded clearly that corporeity, synesthesia, poly sensation and spaciality drawn from Intercommunication process of Media Art have something in common with Ponty's corporeity phenomenology theories rather than the other art genre or minimalism art styles. Furthermore, a new direction of study upon modern Interactive Media Art is suggested.

• The Journal of the Korea Contents Association
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• v.13 no.11
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• pp.655-664
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• 2013

The Korean film has not been on the board of Korean waves due to the limitation of the media accessibility. However, N-screen gives Korean films the chance of being on the board of Korean waves, especially in Asian country which have shared cultural codes. This study aims to demonstrate the possibility of Korean films in asia based on the analysis of Korean film viewers' motivation and media usage. For this purpose the 330 data were collected among Korean, Japanese and Chinese from Feb, 23rd through April, 5th in 2013. The results show the followings; 1) Korean viewers have the strong preference of cinema theater to other media such as PC, VCR/DVD player, tablet PC and mobile phones. Whereas, Japanese viewers prefer VCR or DVD players and Chinese viewers prefer PC and mobile phones. 2) In terms of viewing motivation, social utility is most important to Korean viewers while diversion to Japanese and Chinese viewers.