• Cartoon and Animation Studies
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• s.34
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• pp.129-165
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• 2014

K-pop performances are in the center of the contemporary popular arts and cultural industry, and implicitly reveal the way that our society views the body and the time-space. This paper explores the motif of automaton in the K-pop idol group ShiNee's stage performance of 'Everybody' and the song's music video. At the same time, the paper relates the motif with the automaton of the digital era-that is, the sense of time-space in digital animations. The motif of the automaton has its origins in the mythical forms related to the animation, and is related to the human desire to create humanlike forms. Also, this motif is closely linked to the aesthetical meaning of the animation, being played in different variations since the beginning of the animation. This paper explores the tradition of automaton motif in culture and the arts, and look into the cases in which the history of the relationship between the media and body performance harboring the automaton motif has been displayed in 19th century ballet or modern body expressional arts. In addition, this paper will compare and analyze representative contemporary works that reveal digital viewpoint and the choreography of 'Everybody', and compare other works that stand in similar aesthetic tradition, investigating the influence of digital animation reflected in the K-pop idol and its aesthetic and social undertones.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2010.10a
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• pp.345-348
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• 2010

Media is the lifeblood of daily life as well as to relieve people's stress has become a cultural content. And last weekend was born in the historical background and circumstances of performance of works of art from the artist's struggle to escape, was born in. space constraints on performance in order to escape from the work of a number of images were combined. Media performance, as well as IT technology and performance that is added to the artistic fusion of art was positioned as a sector in this paper, we analyze the different effects of visual media, and any images in the media more effectively whether performance was investigated.

• Proceedings of the Korea Contents Association Conference
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• 2019.05a
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• pp.255-256
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• 2019

가장 큰 예술 대중매체인 k-pop은 다양한 안무 퍼포먼스를 필두로 대중에게 새로운 경험과 색다른 소통을 하게 도와줄 책임이 있다. 현대무용과의 결합을 통해 k-pop은 예술적 형태의 'Art 퍼포먼스'라고 불리 우며, 무용은 k-pop의 대중적 성질을 가지고 거리의 장벽이 낮아졌다. 이것을 변화되는 안무 디자인의 새로운 '문화 트렌드', '대중화 코드'로 인식하여야한다.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.123-127
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• 2010

Innovation in technology has changed the form and meaning of performance work and its appreciation in its long history. Applied to performance art, the concept of digital media and ubiquitous also created new implications in aesthetics and technology. As a matter of fact, new elements of ubiquitous performance- new relationship between creators and the audience and the extension of the notion of 'audience'- are not newly introduced. These elements have been tried throughout hundreds years of performance history and is far more developed thanks to digital communication. In this study, we will discuss how these elements have been developed from the earlier text-based ubiquitous performance to 3D virtual world and contributed to the construction of the virtual culture.

• Electronics and Telecommunications Trends
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• v.29 no.1
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• pp.21-30
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• 2014

무용, 춤, 연기 등의 전문가 퍼포먼스를 분석, 학습, 보급하는 콘텐츠 기술개발은 문화산업의 중요한 당면과제이나 기존 기술은 동작만 인식하고, 감성 및 도구를 포함하지 않으며, 단순 열람은 가능하나 체험 및 학습할 수 있는 효율적인 방법이 부재하다. 따라서 전문가의 퍼포먼스 동작을 일반인 시점에서 학습할 수 있는 체감형 콘텐츠를 제공하기 위해서는 빠르고 능동적인 동작 영상 획득 시스템의 개발과 동작 데이터를 분석 및 생성하는 기술들이 필요하다. 따라서, 본 논문에서는 퍼포먼스 무용의 학습 콘텐츠 제작을 위한 핵심 기술들의 동향을 분석하고자 한다.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.131-140
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• 2020

This article attempted to apply the methodology of film acting as a performance oriented towards socio-cultural meaning to Min-sik Choi's acting. Specifically, the relationship between the body, the face, the audio, the direction and the attitude toward film technology mentioned in the interview dictation of actor Choi Min-sik was analyzed. In conclusion, Min-sik Choi's acting cannot be defined only by method acting, but implies or integrates the typical or avant-garde acting theories such as Stanislavsky, Strasberg, Mayerhold, Brecht and Grotovski. Above all, it is the presentation that expresses the flow of life through movement suggested by S. Kracauer. The feeling of compassion that Choi Min-sik himself emphasizes is in contact with the essence of the film that reproduces the flow of life, and it expands to an intended screen performance with a certain purpose. The screen performance that can be compressed with compassion and the flow of life is expressed by Min-sik Choi's various personas. His persona, transcending good and evil, reflects the present of Korean society.

• Korean journal of communication and information
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• v.62
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• pp.223-243
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• 2013

Value collision takes place in the news organization at times. The concept of social responsibility has been serving as the raison d'$\hat{e}$tre not just of individual reporters but eventually of journalism in general. But when the organizational interests are at stake, more realistic values contributing to the organization often override the normative values. This phenomenon occurs since there exists a clear discrepancy between the nominally highlighted values and the virtual values of press owner or news organization. Focusing on Chosun Ilbo, this paper tries to identify the values a news organization really underlines and pursues, and explores the nature of organizational culture embedded in these values. In specific, this study analyzes such performances as ceremonies and rituals, regular or occasional, in Chosun Ilbo, since these are cultural practices which produce and circulate particular meanings and values forming the basis of organizational culture. According to this study, 'strong unity' is the core value which the owner family in Chosun Ilbo has ever been spotlighting. As long as the strong unity is stressed, the role playing as members of news organization for its interest is more highly regarded than carrying out the normative missions given unto the journalists in general.

• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• Cross-Cultural Studies
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• v.40
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• pp.239-264
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• 2015

In the early 20th century, Japan built theaters to take possession of colonial culture while establishing the Imperial University, libraries, and museums to accumulate and spread the knowledge of "imperial" Japan. Many different genres made a hit in theaters including theatrical troupes, theatrical companies, and motion pictures. One of the various features of expositions was "spectacles" or unusual events. They were integrated with a national festival in celebration of "5th anniversary of political commencement." In 1915, the longest hit series in Keijo (Seoul) was the dance performance by professional Japanese beauties and entertainers, whose songs delivered the legitimacy of governance. This study focused on the performance in the space of "cultural" spread called theaters, thus examining the "imperial" cultural waves they were in charge of. The study also focused on the tensional relations of Hierarchie along those cultural borders. The performance at the theater Engeikan(演芸館) in 1915 was especially an epoch-making event in the Japanese theatrical community of Keijo (Seoul): first, it marked the emergence of large-scale performance hall called Engeikan(演芸館); secondly, the performance kept its ongoing, stable streak for about 50 days; and it led to the appearance of leading troupes including Geijutuza(芸術座), which put on a show in Keijo (Seoul) in November, 1915. The study examined the issues of theater Engeikan(演芸館) performance in 1915 involving the art company, performance genre, and audience composition, showed that there was the coexistence of entertainment and governance through cultural ruling while securing amusement and entertainment, and found it was accompanied by the organized operation of "Keijo Sponsorship Council（京城協贊會）" which brought together the cultural capabilities of Japanese people living in Joseon. The performance at theater Engeikan(演芸館) in Keijo (Seoul) in 1915 fully reflected the issues involving the tensional relations between different artistic genres, the competing relations between the subjects of performance, and the cultural power.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.103-108
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• 2008

Art is an ongoing process of experimenting and challenging. The challenge and experiments of the artists encompass both the conceptual process and the expressive process of creating artworks. It is not mandatory to use cutting-edge technologies for interactive performances, since they can be realized by adapting pre-existing technologies. Using previous technologies reduces the difficulties in the production process and makes it easier for the audience to understand the way of participation. In this paper, propose an ARS-server-based control system in which a large audience can participate during a performance to control certain features on stage. This system was first proposed during the 'Ubiplay Workshop and Seminar' hosted by the GSCT, KAIST, and applied to the digital performance 'Syntasia' in June and July, 2007, hosted by the Goyang Culture Foundation.