• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.1-12
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• 2019

Based on the capabilities of smartphone cameras which have developed rapidly in recent decades, coupled with and the global market penetration rate, it will study the possibility of various international exchanges through smartphone filmmaking. This aims to achieve a civilian-oriented cultural exchange, instead of simply providing capital-oriented exchanges and film production education. The Smartphone Film Workshop was held as an auxiliary event of the Korea-Vietnam Film Festival, which ran from November 17 to 22, 2017. The three-day workshop, which took place within the festival period, drew attention for its international collaboration project between Korean film directors and Vietnamese film students. The researcher conducted practical-based research while participating as a mentor at this workshop. A step-by-step approach to the entire process of production and post-production was administered, including workshop team composition, scenario, and pre-production in Korea such as shooting equipment, schedule, completion of local works, and screening. Through an analysis of exchange cases at international workshops, we will use trial and error as ways to improve and consider the results of cultural exchanges and the effects of future expectations. Taking this empirical case study into account, we anticipate more active international exchanges through the smartphone workshops.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.409-417
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• 2019

Recently, English education of educational institutions is gradually invigorated as the importance of English education for preschooler is increasing. Role-play, in particular, is known as an effective way to learn English for children because it promotes children's interest in language and naturally encounters English-speaking culture. Therefore, in this paper, we tried to find out how to effectively use UCC in role-playing for English education for preschoolers. First of all, questionnaires for pre and post-test were conducted for preschoolers. The results are analyzed by SPSS to find out children's understanding of UCC, interest in English, interest in role-playing, and interest in acting. As a result of the analysis, most children knew UCC well and showed strong interest in watching and producing UCC. Also, the more interested in English and role-playing, the more they wanted to show more advanced English and acting through the feedback of the contents they produced. Therefore, even in preschool children's English education, the development of language and acting can be shown by producing UCC through role-playing under the teacher's control and receiving feedback on it. The results of this study are expected to be effectively used when planning English education through role-playing in daycare centers or kindergartens.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.117-130
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• 2019

After Marx, the issues regarding human labour have been the alienation towards production means and the distributive justice. Fourth industrial revolution and development of AI(Artificial Intelligence) opened the possibility of a independent production and economy system absolutely excluding against human nature and labour. Using robots and AI will deepen demarcation between living things and one not having life, separating the intelligence from the consciousness. At present, so called pre-stage of post human, seeking interests for life, new social relationship and new community will be increased as well. We can understand that interests for small community, self-sufficiency, dailiness, food and body in this context is increasing too. Representative trend towards this cultural phenomena is called as the 'Kinfolk culture.' Work-life balance, 'Aucalme', 'Hygge', 'So-Hwak-Haeng'(a small but reliable happiness) are the similar culture trends as. Vital capitalism, presented by O-Yong Lee, seeks focusing onto living things principles, e.g. 'topophilia', 'neophilia', and 'biophilia' as the dynamics looking for the history substructure, not class struggle and conflicts. He also argues the 'Vital Capitalism' be regarded as a new methodology to anticipate a social system after post human era. G. Deleuze said "arts is another expression method for existential philosophy. It gives a vitality onto philosophy and gives a role to letting abstract concept into definite image." We can find a lot cases arts' imagination overcomes critical point of scientific prediction power in the future prediction. This paper reviews ideas and issues of 'vital capitalism' in detail and explorers imaginating initial ideas of vital capitalism in the film 'Little Forest.'

• Journal of Korea Entertainment Industry Association
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• v.10 no.4
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• pp.77-92
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• 2016

In this study, the relationship of images and sounds of the animations "Dots" and "Loops" which Norman McLaren animated with his Animated sound technique when he worked at Guggenheim museum at New York, are analyzed through the audiovisual analysis theory by Michel Chion, and through the theory of synchronism/asynchronism and parallelism/counterpoint by Siegfried Kracauer. For the results of the analysis, there are a few difference between "Dots" and "Loops" regarding the aspect of sound arrangement and expressive aspect of abstract animation. However, there are being of two main elements of sound, composing with monophony sound, making musical structure with sound effects, and the emphasizing of parallelism with synchronization bewteen images and sounds in common with both "Dots" and "Loops". In "Dots" and "Loops", there are close correlations between pitch of sound and arrangement/shape of image, between loudness of sound and size of image, and between length of sound and length/shape of image. The image and sound of "Dots" and "Loops" have equal relationship each other, rather than subordinate relationship according as image become sound and the sound become new image with the animated sound technique. "Dots" and "Loops" show tendency of minimal art and music video. Since these two films, and remind about the new approach to sound creation in today's animation production.

• Smart Media Journal
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• v.4 no.4
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• pp.111-119
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• 2015

As a variety of HMD(Head Mounted Display) has come out, the production of 3D images onto which VR(Virtual Reality) technologies are grafted has been contributed to activating the production of image contents depending on a tangible or immersing type. VR-based image contents have enlarged their applicability across the entertainment industry from animation and game to realistic images. At the same time, the solution development for producing VR image contents has also gained elasticity. However, among those production solutions which have been used until now, fixed stereo camera based photographing has a limit that the binocular disparity of a user is fixed. This does not only restrict a way of expression a producer intends to direct, but also may cause the effect of 3D or space not to be sensed enough as view condition is not considered enough in a user's side. This study is aimed at resolving with skills applying in the latter part of 3D image production the problem that convergence points may be adjusted with restriction, which tends to happen at the time of the production of VR image contents. The later stage of the 3D imaging work analyzes and applies to game engines the significance of adjusting convergence points through the visualization of binocular disparity so that it is available to implement a function that the points could be controlled at random by a user.

• Journal of Popular Narrative
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• v.26 no.2
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• pp.9-37
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• 2020

The present study examines the transnational "Hallyu" (the Korean wave) phenomenon after the 1990s in the context of a solidarity movement of East Asian women. It also focuses on the passion for the world stage given the cultural industry was supported by the government as a "chimney-less factory" during the IMF financial crisis. Over the past twenty years and through Hallyu 1.0, Hallyu 2.0, and Hallyu 3.0, "K-entertainment" has been advocated, as a concept that encompasses K-drama, K-pop, etc. in the cultural industry. Furthermore, everything Korean, through K-culture, is being put at the forefront. However, there is insufficient discussion regarding the actions of the women who led the Korean wave. This paper examines the female fans and girl groups who played leading roles in the rise of popular culture and its transnational prominence within the context of the female agency and female labor involved. The lack of acknowledgment of their roles is linked to the current erasure of the discussion on the female youth. Discussion on "woman" is still limited to the domain of reproduction in the generational discussion that has replaced the existing nation-state or class led discussions in the current era of neoliberalism. However, since The reboot or the popularity of feminism in recent years, the interest in the female narrative, in works such as 'Kim Ji-young, Born 1982' has been expanding beyond East Asia to the rest of the world. Just as Hallyu was created by women in the beginning, there is a new trend in which women across national borders are joining in solidarity. As such, the present study attempts to prove that the female fan, girl group, and female youths must be one meta-narrative through a feminist reading, rather than individuals with separate identities.

• The Journal of the Korea Contents Association
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• v.20 no.2
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• pp.150-161
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• 2020

Generation Z(Gen Z), which is referred to people in their late teens to early 20s, becomes one of new major consumer groups in the society. More than 80 percent Gen Z use YouTube content as a main information channel. In this study, we investigate what kind of factors make Gen Z immersed when watching YouTube content. In the background study, we examined immersion and set the cognitive conditions of immersion as reality, fascination, control, and driving as a framework for analysis of case study. In the case study, we analyzed the most popular YouTube channels of each category among the Gen Z with the established framework and then identified 3 main factors: reality, 5 senses, and unpretentiousness and 8 characteristics of them. By conducting survey with Gen Z, we wanted to verify the validity of the characteristics and find out the difference among categories. Subjects answered on a five-point scale how the characteristics of each immersion factor corresponded to their favorite channels. As a result, seven characteristics: 1) familiarity of background, 2) reality of acting, 3)familiarity of material, 4)YouTubers' appearance and 5) voice, 6)multi-sensory, and 7)YouTuber's ability to resemble viewers influenced more than 50% of users' immersion. Although there was no significant difference among categories, the familiarity of the material and the five senses stimulus (YouTube's appearance, voice, audiovisual and surrogate taste) were the most important factors in the entertainment category.

• The Journal of the Korea Contents Association
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• v.8 no.12
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• pp.72-80
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• 2008

The movie and game are on the center of entertainment industry. The OSMU(One Source Multi Use) method of two media is the most conspicuous in sharing stories. Particularly, the storytelling of a game emphasizes a harmonization between the elements that can be used for a game on narrative point of view(the traditional plot like novel, film and etc.) and the elements reflecting the interactivity, the characteristic of a game. In the gaming made with a film and filming made with a game, the main element of successful storytelling is the story value. In this paper, we describe through the case analysis of the gaming made with a film and filing made with a game in three aspects based on hero's journey steps of Joseph Campbell and $Gr\acute{e}mas's$ actant model theory, which they are the story event, the type and relation of characters, and the complication type between the characters. we, consequently, believe that the compatible storytelling between two media (film and game) and the setting way of characters could be made with the successful diversification in OSMU.

• Journal of Digital Convergence
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• v.10 no.3
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• pp.251-263
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• 2012

Edutainment refers to the form of entertainment designed to educate as well as to amuse. It typically seeks to instruct its audience by embedding messages or educational contents in some familiar form of entertainment such as computer games, films, websites, multimedia software, etc. The purpose of this study is to identify the determinants of attitude toward online game-based edutainment. This study proposes the attitude, fun, usefulness, social interaction, challenge, and educational story as major research variables, and collected the survey responses from game players having experiences with online game-based edutainment. Factor analysis confirmed that 19 questions can be categorized into 6 factors : attitude, fun, usefulness, social interaction, challenge, and educational story. Regression analysis shows that fun, usefulness and educational story significantly and directly affect the attitude toward these edutainment games, and that educational story influences the level of usefulness. In addition, challenge and social interaction were found to have significant impact on fun. In conclusion, the wider implications of the findings for utilizing online game-based edutainment are provided.

• Journal of Agricultural Extension & Community Development
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• v.20 no.4
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• pp.989-1021
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• 2013

This paper examines the activating methods of heritage tourism by focusing on ecomuseum as regional revitalization strategy of agriculture heritage. Ecomuseum can be a vital tool to actualize the purpose of agriculture and fisheries heritage system, 'dynamic conservation' of 'a living heritage'. According to case study, Byeokgolje possesses high value to preserve and local government is planning to vitalize heritage tourism, but the system of heritage tourism is not properly equipped the four requisites for it (sincerity, educational value, entertainment, and nostalgia). Byeokgolje is insufficient system as an ecomuseum and has some challenging tasks to prepare the four requisites for ecomuseum(the legacy, museum, participation and contents) despite of high possibility. It is necessary that construct the four requisites for ecomuseum and fulfil the four requisites for heritage tourism to achieve the effect of regional revitalization by link to ecomuseum. That is, authentic contents developing, the participation of local residents, shakeholder, and creative class, site construction, academic approach, and providing the method of residents' income increasing are necessary.