• Journal of Korea Entertainment Industry Association
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• v.15 no.7
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• pp.33-43
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• 2021

The purpose of this study is to examine the transformation and characteristics of the Verse-Chorus form. The musical form of a musical song is a structural mechanism for expression to effectively convey the dramatic situation of the characters to the audience. This study identified four types of representative forms that can be used to explore the transformation with the verse-chorus form and examined their characteristics. First is the Verse-Chorus form which repeats the description of simple situations and characters in the early stage of the musical. Second is the Verse-Bridge-Verse form which is used to evoke the atmosphere and escape boredom through a slight transformation of the bridge while explaining a simple character. Third is the Verse-Prechorus-Chorus form, which sits just before the chorus, connects the verse and the chorus, and promotes the emotional rise of the characters by smoothing the drama and the harmonic progression. Lastly, this study examined the expanded Verse-BG dialogue-Chorus form used to represent the situation in which conflicts about the complex feelings of the characters and the decisions about them coexist. As such, musical songs use various types of verse-chorus forms. Through the formality and transformation of the verse-chorus, the logic of the music and the logic of the drama are balanced so that the development of the music and the drama does not enter the state of imbalance. Based on this study, further progressive research can take place on the correlation between musical form and dramatic structure, beyond the transformation of musical song form.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.73-108
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• 2019

This paper is an attempt to discuss the history and the current state of 'SF theaters.' SF theater is still an unfamiliar genre to the public, and may surprise some, given that the stage is perceived as an insufficient space for stretching the scientific imagination. Since 2010 works that bring the scientific imagination into the theater have frequently been performed, and a recognition of SF theaters began to be established. Producers came to be absorbed in human psychology, and our isolation amidst the progress in technology, as well as in the absurdities of the world, while giving up the ideal of realistic descriptions. This became the foundation for SF theaters in South Korea today. Starting from the research history and the conceptual change in SF theaters, this study examined the status of SF dramas going back to the colonial period for SF theaters. Through inquiring into the history of SF theaters, we were able to derive the following implications and problems. Firstly, as they are based on future society or technical improvement without consideration of scientific probability or rationality, the scientific imagination is too absent for the work to be named 'SF theater.' Secondly, while being highly evaluated as an attempt to integrate science and stage in an era that emphasizes convergence, when we delve into the creativity of a material it is noticeable that the view of the world is still regressive. Thirdly, there are many cases in which scripts lean on SF classics or Japanese original works. Nevertheless, if young creators' diverse attempts in a genre can breathe with the contemporary audience desiring a new material, the foundation of a Korean-style SF theater may be expanded to include more significant work.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.193-203
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• 2019

Family films with insight of the society are now recognized as significant texts to communicate with audience from the beginning of the history of film and to reflect various viewpoints on changes of the times and socio-cultural context. In such aspect, the films of Hirokazu Kore-eda are very significant in that they suggest very sharp view on modern society through family narrative. His family narratives not only presented a profound reflection on the modern society and human relations through themes on death, loss, severance, and alienation, but also formed a public sympathy based on success in the box-office numbers despite his heavy subjects. His such achievement is closely related to the format of spatial representation to record 'time' and 'daily life' as well as the family film as a narrative form to draw the meaning of a family. Therefore, this study analyzes the family narrative and the format of spatial representation in the films of Hirokazu Kore-eda, and could find the film form where life and space closely communicate each other to reach the topic. This study, concentrating on the spatial representation and the roles and meanings of formal factors in family narrative, can find its own value in its expansion out of the previous studies which adopted macro perspectives on the trend of the times.

• Cartoon and Animation Studies
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• s.35
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• pp.107-128
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• 2014

Cultural Content industries based on imagination and creativity are attracting attention and the animation high value-added industry is still spotlighted. Among them, Disney Studios make money through using their professional skills. There are the know-how has developed for a long time, and there are timeless strategy. This study is analyzing by fantasy elements for knowing the messages of Disney animation. Fantasy defined as genre of literature by Todorov and Jackson emphasized its social role and significance. Hume expanded the area of fantasy and Tolkein Jahoriski and Boyer classified the fantasy according to the purpose. Through the analyzing Disney animation , Disney's fantasy show the specific expression depending on the target. Disney is based on the three types of fantasy depending on the growth of the journey. The first area is composed of the main character's growth and satisfy the desire and escapism, The second is the word of antagonist who opposed to reality and break the rules of the dominant ideology. The last area is the utopia provided after hero beat the antagonist. Disney characters give the messages by using the fantasy like the transformation or alter ego. That show the subject of the main character's growth and the supporting characters as the expression of the multiple personality of main. These emphasize the hero's growth and give the fun. Also, in the subject of the otherness, the hero always destroy the evil who broke the rules of reality. In this way, the fantasy offered by Disney give the messages of sacrifice and family from true love. Disney has the support of their target audiences continue to be able to convey ideology.

• Journal of Popular Narrative
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• v.26 no.4
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• pp.77-114
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• 2020

This article aims to examine the Sinpa of Along With the Gods: The Two Worlds. Along with the Gods: The Two Worlds was a box office hit with a 10 million attendance mark, but it was also criticized as a 'Korean Sinpa' at the time of its release. The original version of Along with the Gods is a Webtoon called Singwahamkke in Korean. The popularity of Singwahamkke and its adaptation, Along with the Gods was enormous, which prompted a very active research to be carried about the work. However there are only a few articles which analyze the Along with the Gods: The Two Worlds focusing on the Sinpa, even though the Sinpa of the Along with the Gods: The Two Worlds was a highly controversial issue when the movie was released. In this regard, this article tries to examine the Sinpa of the Along with the Gods: The Two Worlds closely, especially by comparing it with the original webtoon Singwahamkke Jeoseung. The body part of this article is composed of three major parts: chapters 2, 3, and 4. Chapter 2 contains an in depth explanation about the notion of Sinpa, the main conceptual research tool for this study. In chapter 3, the original webtoon Singwahamkke Jeoseung is examined closely. This chapter analyzes the 'Sinpajeok moment' in Singwahamkke Jeoseung and argues that despite the presence of Sinpa elements, the webtoon cannot be considered a 'Sinpajeok text'. On the other hand the main subject of chapter 4 is discovering what effect the adaptation from webtoon to movie had on this work, with a particular focus on the gender of Sinpa and Kim Ja-hong. Chapter 5, which corresponds to the conclusion, briefly evaluates the social significance of the controversy arisen in South Korea about the Sinpa in Along with the Gods: The Two Worlds. Sinpa is one of the most repeated code in the realm of Korean popular narrative. This is why the Sinpa of contemporary text is examined continuously even though there are already plenty of studies on the Sinpa. Everyone has called Along with the Gods: The Two Worlds Sinpa but no one has properly analyzed it. It is hoped that this article which closesly examined the Sinpa in Along with the Gods: The Two Worlds contribute to the field of Sinpa. It is also expected that this article can find appropriate contextual meaning of the series of Along with the Gods.

• Journal of Intelligence and Information Systems
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• v.19 no.2
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• pp.73-85
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• 2013

Nowadays, in today's information society, the importance of the knowledge service using the information to creative value is getting higher day by day. In addition, depending on the development of IT technology, it is ease to collect and use information. Also, many companies actively use customer information to marketing in a variety of industries. Into the 21st century, companies have been actively using the culture arts to manage corporate image and marketing closely linked to their commercial interests. But, it is difficult that companies attract or maintain consumer's interest through their technology. For that reason, it is trend to perform cultural activities for tool of differentiation over many firms. Many firms used the customer's experience to new marketing strategy in order to effectively respond to competitive market. Accordingly, it is emerging rapidly that the necessity of personalized service to provide a new experience for people based on the personal profile information that contains the characteristics of the individual. Like this, personalized service using customer's individual profile information such as language, symbols, behavior, and emotions is very important today. Through this, we will be able to judge interaction between people and content and to maximize customer's experience and satisfaction. There are various relative works provide customer-centered service. Specially, emotion recognition research is emerging recently. Existing researches experienced emotion recognition using mostly bio-signal. Most of researches are voice and face studies that have great emotional changes. However, there are several difficulties to predict people's emotion caused by limitation of equipment and service environments. So, in this paper, we develop emotion prediction model based on vision-based interface to overcome existing limitations. Emotion recognition research based on people's gesture and posture has been processed by several researchers. This paper developed a model that recognizes people's emotional states through body gesture and posture using difference image method. And we found optimization validation model for four kinds of emotions' prediction. A proposed model purposed to automatically determine and predict 4 human emotions (Sadness, Surprise, Joy, and Disgust). To build up the model, event booth was installed in the KOCCA's lobby and we provided some proper stimulative movie to collect their body gesture and posture as the change of emotions. And then, we extracted body movements using difference image method. And we revised people data to build proposed model through neural network. The proposed model for emotion prediction used 3 type time-frame sets (20 frames, 30 frames, and 40 frames). And then, we adopted the model which has best performance compared with other models.' Before build three kinds of models, the entire 97 data set were divided into three data sets of learning, test, and validation set. The proposed model for emotion prediction was constructed using artificial neural network. In this paper, we used the back-propagation algorithm as a learning method, and set learning rate to 10%, momentum rate to 10%. The sigmoid function was used as the transform function. And we designed a three-layer perceptron neural network with one hidden layer and four output nodes. Based on the test data set, the learning for this research model was stopped when it reaches 50000 after reaching the minimum error in order to explore the point of learning. We finally processed each model's accuracy and found best model to predict each emotions. The result showed prediction accuracy 100% from sadness, and 96% from joy prediction in 20 frames set model. And 88% from surprise, and 98% from disgust in 30 frames set model. The findings of our research are expected to be useful to provide effective algorithm for personalized service in various industries such as advertisement, exhibition, performance, etc.

• Archives of design research
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• v.13 no.4
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• pp.11-21
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• 2000

Due to the explosive growth of the internet, terminology like "information society" and "virtual space" is frequently used, but often in a confusing manner. Some Social theorists and many people are fascinated by "information" and "media" as key characteristics of the contemporary world and rely on the unproven opinion that "Knowledge is a source of value and information moves the world". In this regard, Boudllian defines contemporary culture as a culture of signs and insists that we are surrounded by signs and forms of meaning. There isn't anything behind the signs but signs only exsist, so we cannot escaped from its inauthenticity and consider it improper to insist on it. If people can understand that signs are just simulation of reality, that would be alright. But in fact anything cannot be alright.In this matter Boudllian's conclusion is that we produce images in bulk which are not worthy seeing. Today we reach the conclusion that most images are the letter(character) image itself which shows nothing special.Consequently, this kind of world is a postmodern-world that seems meaningless but has signs to experience and enjoy, many examples of which are shown in the media, such as the internet. We can get to the conclusion that the audience neither sees nor hears anything, but they just can experience many interesting things which characterize the present age. The purpose of this research is to help you to understand current design philosophy and the direction of media while considering both a positive social phenomenon about the new design paradigm of information and media, as well as critical thinking about it.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.111-124
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• 2014

This dissertation is to seek new valuable possibility of the 100 best Chinese films on storytelling in Chinese films as considering about content development of Korea and China's Collaborative film production and extension, that being magnified as a new content for variety of Korean film production. The moment to the Korean wave is getting cold in Japan, Korean wave is attempt to receive attention in new field through China by various image field with Korean drama's appeal. However, film content fall short of our expectation than media content, even if supporting much various attempts with Korea and China's Collaborative film production content. Specially, there are not satisfied films for Korea and China both counties's audience, although Korea and China's Collaborative film production has been produced steadily. The writer studies on stories of Chinese essential 100 films for searching deeply this problem. Among them, in selected 'The 100 Best Chinese Films' by China in 2005, films in 1930's are selected as the first step to study, and this dissertation searches to communicate storytelling's meaning in Chinese films through that time image. This studies what is the point of selected story by China, and there are what kind of worries. This dissertation considers that focused on characters, event and background. Chinese film in 1930's represented life in times through process of play development that is connected with poverty, reality of society, death, tragedy and tragicomedy.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.113-122
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• 2013

The movie "Beautiful Mind" directed by Ron Howard is about a genius global mathematician, John Nash's life. In the movie, the main actor, John Nash is a schizophrenic patient who suffers from hallucination and delusion, and his illusion appears as three distinct characters. Each researcher has had a different opinion on the interpretation of these three characters, but many parts of their opinions are losing consistency. Especially the girl is assumed to be a character from the main actor's hallucination because she is ageless or there is no interpretation of the girl. Although the director Ron Howard did not adopt Aldous Huxley's theory "the more you know the more you see" for the movie, he analyzed the characters in the way of his own with thinking that he can analyze them in accordance with the knowledge level of audience. The imaginary characters come out from John Nash's head and who he wants to be. They are the basic human needs, earthly desire, sexual desire and the desire for honor. John Nash minutely reflects these three kinds of desires in an imaginary world through the three characters. This thesis is to newly suggest the symbolic meaning of the imaginary characters in the movie by clearly analyzing the meaning of the controversial three characters.