• The Journal of the Korea Contents Association
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• v.21 no.5
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• pp.941-948
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• 2021

This study investigated the differences between active and inactive TV watching groups, in terms of residential characteristics, of class-oriented drama viewing rate. We compared Flow and Social Comparison Theories to explain the relationship between class-oriented contents in the drama and viewing rate. We collected 110,000 TV viewers data of 4 class-oriented and the other 4 dramas, aired between Feb. 2016 and March 2019, through D-Live local cable service provider. Controlling gender ratio and income level which may affect viewing rate, we found that class-oriented content significantly and positively affects viewing rate in active watching group while the same content significantly and negatively affects viewing rate in inactive watching group. These results imply that Flow and Social Comparison Theories may apply in opposite directions in different watching groups.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.36 no.4B
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• pp.314-321
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• 2011

There have been considerable standardization works to measure subjective video quality. However, these standardization methods are based on the situation where they have original or reference video sequences, and measure the video quality by looking the sequence during short time duration, e.g. 10 seconds. Since people's TV watching time durations in IPTV services are very long (e.g. more than 30 minutes), the quality measurements by the standards are not practical. In this paper, we analyze the effect of video quality rating period to MOS (Mean Opinion Score), and suggest a proper rating duration of subjective video quality for IPTV services.

• The Journal of the Korea Contents Association
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• v.14 no.5
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• pp.44-54
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• 2014

This study explores the influence of viewing Korean TV drama on the Japanese attitude toward Korea. Especially this study focuses how Japanese's recognition about Korea and Japanese history influence the evaluation of Korean TV drama. This study conducts survey on 250 Japanese female viewers. As result, it was founded that the historical recognition of Japanese have positive effects on viewing evaluation and Korea national image. The findings suggests that the historical recognition with Korea and Japan worked a important factor for Korean dram flow. It is necessary to reconsider cultural-diplomatical policy to rectify the historial recognition.

• The Journal of the Korea Contents Association
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• v.18 no.3
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• pp.205-214
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• 2018

As the paradigm of the Fourth Industrial Revolution is expanding, VR devices and their contents industry are drawing more and more attention as the digital devices of the next generation. Of the realms of VR contents, $360^{\circ}$ 3D videos are receiving the most attention in the field of media, and they are being utilized by Google as educational contents. As such, this research analyzes actual condition of use and motivation of using corresponding contents through survey of $360^{\circ}$ 3D video users. Results show that the most utilized platform is Youtube, and the genres which the respondents have used or are willing to use turned out to be Games and Movies.

• 한국HCI학회:학술대회논문집
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• 2008.02a
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• pp.839-842
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• 2008

본 연구는 LCD 패널에서 시청모드별 사용자의 피로도 차이에 대한 연구이다 LCD 사용에 따른 사용자 피로도에 미치는 영향이 보고되고 있는 것을 감안하여 감성 공학적 방법을 이용하여 시청모드에 따른 사용자 피로도 차이를 분석하였다. 실험은 34명의 대학생을 두 그룹으로 나누어서 같은 동영상 조건에서 각각 영화모드와 표준모드를 60분간 시청하게 하였다. 시청 시의 피로도를 알아보기 위해 생리신호 반응(GSR, PPG, SKT), 눈 움직임(동공의 확대 축소속도, 눈 깜박임률) 및 주관적 피로도(긴장도, 쾌적도, 피로도)를 측정하였다. 그 결과 주관적인 평가와 생리 반응에서 영화모드가 표준모드보다 더 피로감을 유발시키는 것을 확인 할 수 있었다. 눈 움직임 반응에서는 통계적으로 유의한 결과를 얻지 못하였다.

• The Magazine for Energy Service Companies
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• s.62
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• pp.34-37
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• 2010

지난해 저탄소 녹색성장에 따른 국가정책의 일환으로 공공기관 에너지 절약 추진 지침서가 발표되었다. 지침서에는 에너지절약, 에너지이용효율 향상, 신재생에너지 보급 촉진 등에 솔선수범함으로써 범국민적 에너지절약 의식 확산 및 기후변화대응 등 에너지이용합리화를 목적으로 한다는 내용이 담겨 있다. 이에 따라 공공기관에서는 에너지절감과 관련한 기술을 도입하고, 또 선보이고 있는 것. 그 중 지난해 '지방자치단체 청사 에너지절약 평가'에서 우수기관으로 선정된 목포시청사와 신재생에너지를 도입한 부산대학교의 에너지 절감 사례를 살펴본다.

• Journal of Korean Ophthalmic Optics Society
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• v.17 no.2
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• pp.165-170
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• 2012

Purpose: The aim of this study was to measure and evaluate changes of visual responses in viewing a 2D and 3D (three-dimensional) image. Methods: The subjects were 44 college students aged 19 to 25 years with normal binocular vision. The visual responses measured were CA/C (convergence accommodation/convergence) ratio, convergence-induced PD(interpupillary distance), accommodative responses, perceived distance in viewing a 3D image. Results: Convergence and accommodative responses in viewing the 3D image were significantly larger (p<0.05) than in 2D. A moderate positive correction was found between CA/C ratio and accommodative response (r = 0.477, p = 0.001). It was indicated that smaller PD had larger depth perception. Convergence in viewing the 3D image was significantly larger (p<0.05) than that at cognitive distance. Conclusions: The visual fatigue may be more intense in larger CA/C ratio and smaller PD when viewing 3D images.

• The Journal of the Korea Contents Association
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• v.19 no.6
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• pp.179-191
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• 2019

It is not easy to predict the return on investment in the content business, and there is no index to evaluate cast & crew. The absolute number of TV ratings is steadily declining, but there is no substitute index yet. In this study, we tried to predict the relative popularity of the drama by designing the relative superiority of the individual drama viewership as the response variable and designing the relative superiority of the drama participants as the explanatory variables. We used various machine learning algorithms and added explanatory variables that were found to be useful in previous studies. As a result, with properly combined explanatory variables, a high prediction accuracy of 84% is obtained. In this study, we intend to promote the investment efficiency of the entire contents industry by predicting the relative popularity of the contents.

• The Journal of Korean Institute of Communications and Information Sciences
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• v.38C no.11
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• pp.1000-1009
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• 2013

This study investigated changes in behavioral performance before and after watching a multi-view 3D content by using auditory stimuli based on the selective attention theory in order to quantitatively evaluate 3D visual fatigue. Twenty-one undergraduates were asked to report on their current visual and physical condition both in the pre- and post-experiment. A selective attention task was conducted before and after mobile 3D viewing to compare the changes in performance. After performing a Wilcoxon's matched-pairs signed-ranks test on the subjective ratings of 3D visual fatigue, participants were categorized into two groups, unfatigued and fatigued group with a definite criterion. For the unfatigued group, no significant fatigue effects were found in behavioral response times and accuracies to specific auditory targets. In sharply contrast to the unfatigued group, the fatigued group showed significantly delayed response times and less response accuracies. However, no significant changes in accuracies for a working memory task were observed in both groups.

• Korean journal of communication and information
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• v.58
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• pp.201-221
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• 2012

The male audience for melodrama, a typical women's genre, has drawn little attention in the audience research. Thus, this paper examines how and in what context they watch it, as well as how they accept and rationalize their 'feminine' taste. And in-depth interviews were conducted with seven middle-aged males. While they acknowledge their feminine taste, they tend to legitimize and re-contextualize it in ways that may not contradict their notion of masculinity. Consequently, they often demonstrate seemingly contradictory attitudes oscillating between enjoying it and distancing themselves from their please of viewing. Yet, their acknowledgement of feminization hardly extends to an acceptance of being labelled 'feminine' men. They attempt to distance themselves from emotional engagement in television viewing, either through emotional self-censorship or under-valuation of the taste for the genre itself. Finally, they hardly connect their taste for the genre to a sort of active post-viewing practices of fandom. The results have considerable implications for understanding how the melodrama-viewing males keep traversing the boundaries of gender-specific genres, and reconstitute the notion of masculinity.