• Korean journal of communication and information
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• v.64
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• pp.59-84
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• 2013

It has been 10 years since KBS first broadcasted TV program for the purpose of expanding mutual criticism among Korean mass media. This study conducted a content analysis of KBS episodes for the last 10 years. Through the content analysis, this study explored what the program had showed us in the aspects of 'the subject of criticism', 'the ground of criticism', 'the attribution of criticism'. The content analysis could show meaningful results to the study of media criticism, because it not only provides a meta-analysis of the problems Korean mass media have had for the last 10 years but also examines the program has been consistent in the regard of criticism fairness. The result of this study showed that has pointed out the practices of unfairness, political bias and superficial and shallow reporting as the most critical problems the Korean mass media have. Also, the result showed that had not been consistent in the regards of 'the subject of criticism', 'the ground of criticism', 'the attribution of criticism'. While the program mostly focused on the problems of political bias and unfairness in the early stage, the focus of criticism moved to the problems of sensationalism and superficial reporting laster. This study discussed that the change of criticism might have a relation with the change of KBS governance.

• Asia-pacific Journal of Multimedia Services Convergent with Art, Humanities, and Sociology
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• v.8 no.9
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• pp.563-571
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• 2018

The purpose of this study is to explore the direction of multicultural mentoring class activities in order to promote the professional growth and critical reflection of student mentors who are undergraduate students from a variety of major. For this purpose, the contents and phenomena of the multicultural mentoring of the mentor - mentee were reported as activity texts, and then seven directions of textuality were applied to explore the direction of multicultural mentoring class activities. As a result, coherence refers to the relationship between the mentor and the mentee for continuing the activities of multicultural mentoring, and cohesiveness refers to the relationship between the mentor and the mentee. It was called the achievement of identity. Intention means that the mentor has an intention or goal for the class before the mentoring activity, and tolerance means that the text produced by the mentor in the multicultural mentoring process is accepted by the mentee. Intentional means that the mentor has intention or goal for the class before the mentoring class activity, and tolerance means having the text as the class activity text when the mentor's text is accepted by the multicultural mentoring class activity process. In the case of informativeness, the information produced by the mentor is less informative when the mentee is predictable and less informative when the predictor is low. In the case of contextuality, contextuality of class activities can be changed according to the physical text situation and the mentee situation in class activity. In case of multicultural mentoring class activity, except for case where mentor creates new class activity text, it is related to the production of class activity texts through mentor learning experiences, peer friends' advice, and education.

• Trans-
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• v.12
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• pp.245-274
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• 2022

The interactive cinema is based on the interactivity between the cinema and the audience. The discussion of interactive cinema can be divided into two poles. One is to positively look at the possibilities of interactive cinema as a new format and to test with them in various ways. The other is the perspective of a critical warning that the interactivity of interactive cinema risks reinforcing biases while instilling the illusion of freedom and activity in the audience. Considering both of these perspectives, we try to find a way to realize the political and aesthetic possibilities of interactive cinema through characteristic analysis. To this end, we analyzed the interactive film , which has received public and critical attention, based on Brecht's epic theater as a theoretical and practical reference. We analyzed the text/contextual characteristics of this work in three dimensions - an interactive multi-branching structure, a self-reflecting Mise en abyme structure, and an active enjoyment of the audience - and compared them with the epic theater theory. Through this, we examined the conditions and possibilities of interactive cinema as a new epic theater in the new technological/media environment of the 21st century.

• 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.26 no.2
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• pp.87-122
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• 2020

This study explores the method of representation of traumatic history in 2D horror game Detention developed by Taiwan game production company Red Candle through an analysis of its method of storytelling. Unlike conventional public media, video/digital games are based on interactivity, in which game players engage in the narratives. Thus, the relationship between players and the history in the game world may also change. This research investigates how the players build their way of remembering and recognizing the past in a different relationship. Detention, which was well received, not only in Taiwan but also around the world upon its launch in 2017, is set in a middle school during the martial law era in Taiwan in the 1960s. In the game, the main character encounters her lost memories in the process of following clues and game rules, and finally realizes she is implicated in the 1960s' event. Detention was cinematized after the success of the game. The film achieved enormous popularity both in terms of box office success and criticism. In this paper, the strategy of the game's storytelling is introduced in comparison to the film's approach in the representation of historical events. In particular, the paper explores elements such as the interactivity of the game medium, narrative fragmentation, quests, hints and cues, and the horror genre, that asks users to understand history beyond the game world differently from the point of view of other media. Though this study, it can be considered that the digital game is a medium exploring history in a serious manner. In particular, Detention invokes the matter of game-mnemonics as well as cine-mnemonics. Compared to plentiful research in cine-mnemonics, game-mnemonics has not been extensively studied to date. Therefore, through the analysis of Detention, this paper explores the relationship between digital games, history and memory.

• Korean Journal of Organic Agriculture
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• v.15 no.1
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• pp.59-69
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• 2007

This experiment was conducted to study the spring productivity and feeding value of hairy vetch varieties. We also measured DM yield and feeding value by analyze CP and CF that authors made possible to calculate TDN and RFV. The results can be summarized as follows; Dry matter yield were increased earlier autumn seeding date and later cut in spring. Differences of dry matter yield in earlier cut in spring was high in order of Ostsaat, Welta, Vv4712, Penn-02, Common and Minnie. Crude protein(CP) yield was increased when earlier autumn seeding date and later cut in spring. Total digestible nutrient(TDN) yield of hairy vetch varieties was decreased when later autumn seeding date, and was increased when later cut in spring. TDN yield was highest in Ostsaat and Welta varieties had highest dry matter yield. Acid detergent fiber(ADF) content was decreased when later autumn seeding date and was increased when later cut in spring. Neutral detergent fiber(NDF) content was decreased when later autumn seeding date. Average values for relative feed value(RFV) were 157% and 132% in both cut. It shows that a high feed value in all of hairy vetch varieties. Above all, the results presented that the optimal seeding date for cultivating hairy vetch in the central region of Korea is between the 10th to the 20th of September. Because Ostsaat and Welta had significantly high dry matter yield we expected Ostsaat and Welta have a higher wintering ability.