• Cartoon and Animation Studies
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• s.25
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• pp.41-63
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• 2011

Many educational facilities have been formed due to the nation's revival policy in the animation industry since about 1995. Owed to the active financial support of the nation, the production industry rapidly vitalized, production technology rapidly advanced, and a large workforce is being passed on into society through educational institutions. The reality of many developing countries appearing to be putting emphasis on the industrialization of animation, similar to our country, is becoming a great pressure on us industrially. It is never easy to develop a certain field into a globally competitive industry in a short period of time. Our countermeasure, pursuant to these international circumstances, lies in innovation and creativity that has broken away from the existing methods of production, and mass production of high quality animation specialists. This paper is a new educational proposition for the consolidation of national competitiveness. Animating, the core of producing an animation, completely depends on the animator's artistic and technical ability. In order to supplement the existing methods of studying by theory and make up for the biggest weak point, which is the lack of "on the scene" learning contents, I propose incorporating movements based on frequently appearing characters in popular animations and acting them out slowly and including the "Slow Motion" kinetic effect, a way of enabling someone to learn and sense astrodynamic fundamental principles by oneself. It is a new method of learning movement, a plan made to achieve sensual performance gestures, and an improvement in direction for students who wish to become animators in the future.

• (The) Research of the performance art and culture
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• no.37
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• pp.223-247
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• 2018

A reading aloud performance is an activity in which the actors convey the meaning of the play to the audience through reading the play without memorizing the play. Although this term has been used for a long time, it can be said in the early 2000s that Korea began to pay attention to reading aloud performance in the cultural world. As the theater education is strengthened in the 2015 revision curriculum, interest in this "reading aloud performance" is also growing. In this article, we analyzed the reading aloud performance of the 8th contemporary Japanese drama '2018' in order to utilize the reading aloud performance in the educational field and to utilize it in the lecture of the children education. There are two types of rehearsals for the actors on stage: 'Reading by watching drama', 'Playing by memorizing drama', and 'Mixing two types'. In the end, the key is that there is no set rule for the type of reading aloud performance. It's not trouble to see or not to see the play. It is not necessary to have a stereotype that you should do a proper reading aloud performance in consideration of your situation, but that you should do this. If children understand the concept of read aloud performance in a flexible way, the educational effect will be greater. Based on this analysis, we suggested 'not sticking to the form of reading aloud performance' and 'choosing various types of reading aloud performance' as a criterion for applying to the education field for children. In addition, the sub-criteria required for selecting 'various types of lecture performances' include' selecting a specific scene in the content of the play ',' considering the level or situation of the student ',' not hesitating to make a new type of lecture performance '. I hope that this article will be a stepping stone to revitalize the discussion in the educational world where discussion on the performance of reading aloud is requested, and to solve the problem of lack of educational design due to lack of theory.

• (The) Research of the performance art and culture
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• no.37
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• pp.327-363
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• 2018

Bhutan's mask dance drama, Cham is performed in the festival of Tshechu. Originating from the 17th century, Tschechu is a religious ritual as well as a traditional festival held to commemorate the birth of Padmasambhava, who spread Buddhism in the kingdom of Bhutan. Bhutanese Cham and Tibetan Cham share similar traits in their content of , , and in their characters of Pawo and Pamo. Meanwhile, , , , , , , , are distinctive performances of Bhutanese cham. Moreover, the clown character Atsara in Bhutanese cham is a character that does not appear in the Tibetan Cham. Atsara, a humorous character, can be identified by its use of a long phallus ornament on the head or by a distorted face mask with a phallus in its hand. Bhutanese Cham, originally from Tibet, is a religious mask dance drama handed down in Lamaism temples. In later generations, new performances reflective of Bhutan's history, myth, legends, and religion were added in large amount. Thus, the Cham of Bhutan now has very independent and characteristic aspects.

• The Journal of the Korea Contents Association
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• v.18 no.12
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• pp.383-393
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• 2018

The purpose of this paper is to study on the elements of the Sinmyung and the expression recognition of body movement in Korean dance of college students majoring in musical. The participants were 12 male and female college students in musical major who experienced in dance, song and acting. The program was composed of the experience of the Sinmyung: recognition of sound and dance, breathing and movement in the Korean dance, 8 hours twice a week for four weeks. As a qualitative approach is the discovery of the center of the process, we carried out an inductive analysis of the area on the basis of observation, in-depth interview and student report. The core of this analysis is to attempt to analyze contents concentrating on the recognition exploration of the Sinmyung sentiment and the body expression through sound and breathing. In conclusion, for college students majoring in musical, the expression recognition of the experience of the Sinmyung and the movement in the Korean dance contributes to the improvement of creative thinking through body perception, and the practical use of the capacity of image expression through concentration of sound and breathing. Finally, the results of this research could articulate with the value of body expression and the creative factors of college students majoring in musical.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.127-139
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• 2021

This study is intended to review the poetic directing created by the aesthetics of silence of Claude Régy, a French director who carries out playwriting in silence, departing from conventions through the concept of "potentiality" proposed by Giorgio Agamben, an italian philosopher. Claude Régy stated, "What's fundamentally important is not to say what you want to say." Thus he tries to create the stage of "silence" rendered in overly slow, excessively segmented dialogues while selecting restrained minimal means. Agamben makes Bartleby who "prefers not to" as a cardinal model of his perfect potentiality, asserting that the nature of potentiality is revealed in the pause of actuality. As in Agamben's philosophy, Claude Régy's directing is also the "pause" of words and actions. This silence is not a return to actuality but a creation of the moment at which "the invisible" become visible. The silence of words or the silence of an empty stage with dim lighting is viewed by Agamben as potentiality that has "underlying passivity" and is "hospitable to non-existnece". In this light, this study is to create another direction for the theater arts of our time and the 21^st century and to extend the horizon of new directional modes. It aldo reviews the concept of Agamben's "potentiality" that provides critical viewpoints to "the artist without content", works directed by Claude Régy who has created his own distinctive styles of direction with the aesthetics of "slowness" and "silence", L'intérieur by Maurice Maeterlinck and Quel'un va venir By Jon Fosse.

• The Journal of the Korea Contents Association
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• v.22 no.9
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• pp.156-168
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• 2022

This study was conducted to investigate the staging principle, the staging work and the trial performance of Shingeuk troupe Geukyesulyeonguhoe during the period of coterie system, focusing on Gogol work·Ham Daehoon translation·Hong Haeseong directing's (5Act). As a result, the first trial performance was based on a faithful full-scale description rather than an interpretive directing of play. It was a performance that focused on copying and implanting the external form of the performance stage of Shingeki troupe Tsukiji Little Theater. The general review of the time was summarized to the point that it was a relatively successful performance that exceeded expectations as a trial demonstration of amateur actors. However, in terms of the content of play and the form of performance, reservations and lack of contemporary(modern) interpretation caused the problem that the general audience was alienated. Therefore, it was difficult to achieve the effect of reflecting the reality of Chosun through , as Geukyesulyeonguhoe intended.

• Journal of the Society of Disaster Information
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• v.16 no.4
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• pp.824-831
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• 2020

Purpose: In fire case, nursing hospitals are subject to considerable restrictions on evacuation due to the characteristics of occupants and vulnerable elements of buildings, it is important to make evacuation device for vulunerabale person, and need how to intend to increase the efficiency of evacuation by fire and evacuation simulation with helper Method: The smoke characteristics were analyzed by time through fire simulation, finally, the number of helpers according to the day and night was entered, and the evacuation completion time was compared and analyzed using the evacuation simulation. Result: It was found that the evacuation time was shortened by more than 20% when the evacuation assistance device was used for the vulnerable, and the evacuation time was delayed by almost 70% in case of a fire at night compared to the daytime. Conclusion: If the horizontal and vertical evacuation device are effectively utilized in actual fire situations, a strategy appropriate to the situation is deemed necessary. It is expected that evacuation efficiency will increase based on the use of horizontal evacuation evacuation device and vertical evacuation device by developing evacuation manuals

• Journal of Christian Education in Korea
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• v.69
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• pp.45-75
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• 2022

The purpose of this study is to explore the implementation of Bibliodrama on the metaverse platforms. In other words, to create interesting and effective Bible education for modern learners, this study took a didactical approach to the implementation of Bibliodrama through the metaverse. The main reason to be enthusiastic about using the metaverse for education is because users, who have been only content consumers, now able to experience and create values. As a Bible didactical approach, Bibliodrama is a an emphatical and communicative learning method in the form of role play. Bibliodrama seeks to interact with the world of the learner and the world of the Bible through improvisational acting, to study the Bible. Through the Bible didactical approach, the meeting of Bibliodrama and the metaverse can have a positive effect on modern learners, in terms of improving learning environment and, above all else, increasing learning interest. In terms of biblical didactics, implementing Bibliodrama in the metaverse has the following advantages. First, it helps to construct a dramatic situation and environment so that the meaning of the biblical text can be proved relevant to today's learners, not something belonging to the past. Second, in the metaverse, the historical space and characters of the Bible can be realized in virtual reality to produce a 'situational play'. Demonstrating freedom, imagination and creativity in the metaverse learners play in Bibliodrama. This way they also become aware of the hidden meaning of the blank pages in the Bible. Third, the metaverse environment is not static but dynamic and interactive; Bibliodrama pursues an interpretation that harmonizes spirit and body. Therefore, through the dynamic activities of discovering the meaning and significance of the Bible, it is possible to form a holistic faith in which spirit and body act as one.

• Journal of Korea Entertainment Industry Association
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• v.13 no.7
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• pp.1-13
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• 2019

This study tried to explore the contents of film critics' reviews reported in the press. Based on fifty nine Korean movies with over 100,000 audience in 2017, this study collected 1113 reviews from fifty five movies with the exception of four without reviews. This study focused on the correlation between film's overall quality and four evaluation items such as directing, acting, story, and the visual. Examining the difference in the report timing of the review, the length of the review, and the intensity of the opinion, this study also analyzed the relationship between the internal aspects of reviews and box office performance. According to the results, the valence of critics' reviews was generally positive. Looking at the difference of reporting time, this valence was higher in the week before release than in the release week of film. The evaluation items of reviews were highly covered both before movie release and in the opening week. These were significantly declined in the second week of release. In the relationship between the number of reviews by each movie and box office performance, a positive correlation was found.

• Journal of Korea Entertainment Industry Association
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• v.13 no.4
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• pp.93-106
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• 2019

Persona is an actor's external ego constructed by playing various roles, and his/her another self-portrait in the eyes of the audience. This study was conducted to analyze persona identity containing core persona(CP) and to gain implications for the growth strategy of the actress Son Ye-jin called "melo queen" by verifying consistency between the CP and audience responses to her starring works of the past. According to the related theories and models, the persona was firstly set as image, visuality, personality and consistency, and it was used to extract and sort descriptive texts about Son related news articles in the last 5 years of the six major Korean newspapers using the content analysis method. After that, we analyzed the number of viewers of her movies and the audience share of her dramas by genre. As a result, Son's persona components were found to have a proportion for 54.2% images (34.0% for melo and romance images, 20.2% for non-melo and romance images), 25.6% for visibility, 13.8% for consistency, and 6.4% for personality. Her CP was derived from a melo and romance image. Comparing this with the audience reaction, the melo romance genre dominated and showed consistency in the drama, but in the case of the film, the non-melo romance was dominant and did not match each other. The results were attributed to a wide gap between dramas and movies in terms of key viewers, box office factors, degree of genre hybridity and experimentality. Therefore, Son should actively use her CP in the drama and challenge the various roles in order to expand her persona spectrum in the film.