• Journal of Intelligence and Information Systems
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• v.21 no.1
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• pp.83-98
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• 2015

Many TV viewers use mainly portal sites in order to retrieve information related to broadcast while watching TV. However retrieving information that people wanted needs a lot of time to retrieve the information because current internet presents too much information which is not required. Consequentially, this process can't satisfy users who want to consume information immediately. Interactive video is being actively investigated to solve this problem. An interactive video provides clickable objects, areas or hotspots to interact with users. When users click object on the interactive video, they can see additional information, related to video, instantly. The following shows the three basic procedures to make an interactive video using interactive video authoring tool: (1) Create an augmented object; (2) Set an object's area and time to be displayed on the video; (3) Set an interactive action which is related to pages or hyperlink; However users who use existing authoring tools such as Popcorn Maker and Zentrick spend a lot of time in step (2). If users use wireWAX then they can save sufficient time to set object's location and time to be displayed because wireWAX uses vision based annotation method. But they need to wait for time to detect and track object. Therefore, it is required to reduce the process time in step (2) using benefits of manual annotation method and vision-based annotation method effectively. This paper proposes a novel annotation method allows annotator to easily annotate based on face area. For proposing new annotation method, this paper presents two steps: pre-processing step and annotation step. The pre-processing is necessary because system detects shots for users who want to find contents of video easily. Pre-processing step is as follow: 1) Extract shots using color histogram based shot boundary detection method from frames of video; 2) Make shot clusters using similarities of shots and aligns as shot sequences; and 3) Detect and track faces from all shots of shot sequence metadata and save into the shot sequence metadata with each shot. After pre-processing, user can annotates object as follow: 1) Annotator selects a shot sequence, and then selects keyframe of shot in the shot sequence; 2) Annotator annotates objects on the relative position of the actor's face on the selected keyframe. Then same objects will be annotated automatically until the end of shot sequence which has detected face area; and 3) User assigns additional information to the annotated object. In addition, this paper designs the feedback model in order to compensate the defects which are wrong aligned shots, wrong detected faces problem and inaccurate location problem might occur after object annotation. Furthermore, users can use interpolation method to interpolate position of objects which is deleted by feedback. After feedback user can save annotated object data to the interactive object metadata. Finally, this paper shows interactive video authoring system implemented for verifying performance of proposed annotation method which uses presented models. In the experiment presents analysis of object annotation time, and user evaluation. First, result of object annotation average time shows our proposed tool is 2 times faster than existing authoring tools for object annotation. Sometimes, annotation time of proposed tool took longer than existing authoring tools, because wrong shots are detected in the pre-processing. The usefulness and convenience of the system were measured through the user evaluation which was aimed at users who have experienced in interactive video authoring system. Recruited 19 experts evaluates of 11 questions which is out of CSUQ(Computer System Usability Questionnaire). CSUQ is designed by IBM for evaluating system. Through the user evaluation, showed that proposed tool is useful for authoring interactive video than about 10% of the other interactive video authoring systems.

• Cross-Cultural Studies
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• v.41
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• pp.33-56
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• 2015

Trauma studies have provided useful models for dealing with the catastrophic and disastrous events that an individual and collective group experience. Most important of all, the perspective of post-structuralist trauma study, including Cathy Caruth, became a paradigmatic model and it has been applied to almost all contexts of life. The perspective of this study model, which is called an "event-based model of trauma," focuses on the literal registration of the traumatic event and the accurate and immediate recall of the past. The person directly involved in the event becomes the passive bearer transmitting the truth of a traumatic event. From this perspective, the traumatic subject only undergoes and endures the event and cannot play an active role in constructing trauma and dealing with it. Eventually, the truth of trauma has to be obtained at the cost of the traumatic subject's autonomy and the possibility of his/her agency. The problem here is that the truth, which is reencountered through the literal return of the past, obtained at the cost of the subject's autonomy, strikes a rather fatal blow to the person, than gives help for resolving many of matters surrounding traumatic experience and curing trauma. This suggests that the active way of dealing with trauma on the part of the traumatic subject, rather than the traumatic event itself, is demanded. Furthermore, because more recently, images of disastrous events were viewed "live" by audiences and an immediacy to the event is replicated in public discourse about them, the event becomes more immediately traumatic and there is a more strong presumption that people regard themselves as traumatic victims than before. This is the reason that we must explore an active way dealing with trauma on more human position at this time. This essay aims to examine the limits of the paradigmatic model of trauma study, an "event-based model of trauma," critically through a literary, theoretical text in which it reveals how the literal return of the traumatic past have a fatal effect on the victim; and hopes to suggest "the narrative memory" as a way to deal with trauma from a more humanistic perspective.

• Journal of Service Research and Studies
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• v.13 no.2
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• pp.181-203
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• 2023

YouTube exhibits a hybrid personality, incorporating traits of both over-the-top (OTT) and personal broadcasting platforms. However, limited research has investigated these hybrid characteristics, particularly in the context of paid YouTube channel memberships. Therefore, building upon consumption value theory and prior literature, this study examines the influence of consumption value factors associated with paid YouTube channel memberships on usage satisfaction and continuance intention. Specifically, the study identifies four perceived consumption value factors (functional, social, emotional, and epistemic values) within the paid YouTube channel membership context and assesses their impact on usage satisfaction and continuance intention. Additionally, the study explores the moderating role of conditional value (the experience of watching live streams on paid YouTube channels) in these relationships. Data was collected via an online survey from Korean adults who subscribed to multiple paid YouTube channel memberships, resulting in 274 responses. The proposed hypotheses were tested using structural equation modeling (SEM). The SEM results indicate that all four consumption value factors significantly influence usage satisfaction, with usage satisfaction in turn positively affecting continuance intention. Furthermore, the study reveals that conditional value moderates the relationships between functional/emotional values and usage satisfaction, as well as between usage satisfaction and continuance intention. This study is the first to focus on YouTube channel paid memberships, which encompass characteristics from both OTT and personal broadcasting platforms. It is anticipated that this research will offer insights to personal broadcasters and stakeholders regarding the motivational factors that impact user satisfaction and encourage subscriptions to channel memberships.

• The Korean Journal of Archival Studies
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• no.78
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• pp.197-249
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• 2023

This paper focus on the demand for broadcast and video archive contents by users outside broadcasters as the archive openness and sharing projects of terrestrial broadcasters have become more active in recent years. In the process of creating works using broadcasters' released video footage, the study examined the criteria by which video footage is selected and the methods and processes utilized for editing. To this end, the study analyzed the the case of the 5.18 footage video sharing project 〈May Story(Owol-Iyagi)〉 contest organized by KBS in 2022, in which KBS released its footage about the May 18 Democratic Uprising and invited external users to create new content using them. Analyzing the works that were selected as the winners of the contest, the research conducts in-depth interviews with the creators of each work. As a result, the following points are identified. Among the submitted works, many works deal with the direct or indirect experience of the May 18 Democratic Uprising and focus on the impact of this historical event on individuals and our current society. The study also examined the ways in which broadcasters' footage is used in secondary works. We found ways to use video as a means to share historical events, or to present video as evidence or metaphor. It is found that the need for broadcasters to provide a wider range of public video materials such as the May 18 Democratic Uprising, describing more metadata including copyright information before releasing selected footage, ensuring high-definition and high-fidelity videos that can be used for editing, and strengthening streaming or downloading functions for user friendliness. Through this, the study explores the future direction of broadcasters' video data openness and sharing business, and confirms that broadcasters' archival projects can be an alternative to fulfill public responsibilities such as strengthening social integration between regions, generations, and classes through moving images.