• Journal of Korea Game Society
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• v.8 no.3
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• pp.3-14
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• 2008

Classifying digital games' genres is quite ambiguous work, as they have been using other media's genre classification such as film genre. Therefore this paper tries to propose a new way of classifying genres of digital games. There are two kinds of approaches to digital games genres: one is based on gamers' activities and the other is on game text. The former turned out to be limitative because the meanings of gamers' activities are sometimes overlapped and this overlapping causes lack of objectivity in deciding which activity belongs to which genre. On the other hand, the latter is comparatively clear and accurate as it is based on what a game text provides. After all. a new classification of digital games based on game text makes total of 7 digital game types, which are Physical obstacles, Mainly Physical & partially intellectual obstacles, Intellectual obstacles, Mainly intellectual & partially physical obstacles, Self-supporting games, Confronting games, Ranking games, and each type has its own convention and characteristics.

• The Korean Journal of Archival Studies
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• no.58
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• pp.95-145
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• 2018

As a communication language, non-text records and archives such as photographs, images, and videos are becoming more important than text records. As a result, domestic institution, organizations, and specialists related to record management have been emphasizing the necessity of the archive management system appropriate for the distinctive characteristics of image records. This paper summarizes the points to be considered for the establishment of the Korean audiovisual archives management system, based on the writer's experience of participating in the International Audiovisual Archives Management Training for professionals in the world(INA Frame) of 2018. In particular, various types of contents including cinema, broadcasting, cultural should be managed at the national level. Furthermore, the necessity of a new concept establishment for "public audiovisual heritage" is accentuated. In addition, the tasks regarding the establishment of foundation, such as the modification of the related systems and infrastructures, and the layouts of the institution or governance, should be reviewed and revised. Moreover, the preliminary tasks revised, should be lead to the establishment of stable management system for public audiovisual archives of Korea.

• Cartoon and Animation Studies
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• s.47
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• pp.241-271
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• 2017

Film color is equivalent to other elements of film, including narrative, and has a textual meaning according to the identity of expression. In general, red has a function of focusing attention, and the meaning derived from it is diffused. In the interaction of text and context, the function of concentration and the meaning of diffusion can be presented. The concept of concentration and diffusion is shaped by the relationship between independent colors, colors and other cinematic elements, and interactions between colors. In order to confirm this, this study analyzes a series of popular Korean films, how film colors interact, and in particular, the concentration function of red and the meaning of proliferation. The results of this study are as follows. First, in Korean popular films, at its most basic, red symbolizes a nation, a people, and a nation. The red of nationalism surrounding ethnicity, nationality and country visualizes ideology and conflict. The purpose of an individual or group, the relationship between the offender and the victim is mediated through red. The flag, the name tag, the costume appearing in the film are red. This can be seen in films such as Train to Busan, Assassination, Masquerade, Miracle in Cell No.7, Brotherhood of War, Northern Limit Line, Joint Security Area, Welcome to Dongmakgol, and May 18. Second, the red color attached to the female body fixes or strengthens socio-cultural sexuality and gender. The examples are films like Ode to My Father, The Thieves, The Host, Purpose Of Love, Sunny, Like A Virgin, Forbidden Quest, Untold Scandal, Bewitching Attraction, and Ssanghwajeom. Third, the blood red in Korean films is a visual device that directs magical horror, anger, and asceticism. Such films include The Neighbors, Bunshinsaba, R-Point, A Tale Of Two Sisters, Whispering Corridors, The Uninvited, Thirst, SECTOR 7, Asura:The City of Madness, The Tiger, Veteran, and so on. Fourth, red of tears constitutes the specific emotions such as a beautiful desire and a brilliant tragedy in films like King and The Clown, Oldboy, Memories of Murder, 26 Years, The Attorney, Unbowed, Sympathy For Lady Vengeance, Happy End, Punch, Calling, The Yellow Sea, and He's on Duty.

• Cartoon and Animation Studies
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• s.34
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• pp.293-316
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• 2014

(傳說의 故鄕) is a broadcast play as one-act play series based on Korean legends and folktales. It was first aired in 1977 from KBS and there has been borrowed from this play in a variety of genres such as books and movies as the name of this series securing its popularity and awareness of the public. In this context, this is a representative work for Korean horror genre. Recently, for example, a series webtoon <2013 Home of the Legends> is published on one of the main portal websites, NAVER from July, 2013. This webtoon is main subject of this study. The purpose of this study is to discuss how the genre characteristics of Korean horror in TV serial play transmitted and changed in series webtoon <2013 Home of the Legends>. TV serial play is a representative narrative based on Korean folktales, trying to change its narrative in the range of undestroyed folktale basic move with combining the original motifs. Serial webtoon <2013 Home of the Legends>, however, deconstructs this combination motif in folktale form and leads to new move in narrative. For Korean users accustomed to Korean folktale form as the architext, this will be expected as reversal and make catharsis. Meanwhile, the deconstruction of combination motif leads to extinction of its cause-and-effect, which consists the axis of original narrative form, with resulting powerless theme, good overcoming evil and punitive justice. The aspects of changes in <2013 Home of the Legends> represent new orientation of Korean horror.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.77-90
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• 2020

Today, the transition to the era of "post-drama" brought a change in the position of text, which was considered the center of the play, and the expansion of the role of actors. After entering the post-drama era, the actor no longer transforms himself into "delivering" the fixed meaning of text, but "producing" the valid meaning of "now, here" meeting the audience. In other words, actors in the post-drama era have expanded their roles as "performers" who can become the subject of narratives themselves and create various theatrical languages. Despite the expansion of the actor's role, verbal-centered actor training through text, which still forms the basis of acting education, does not satisfy the newly changing contemporary theatricality and creates a gap between education and the field. Therefore, the researcher argued that non-verbal-centered acting education needs to be discussed, and highlighted the actors' physical training on the "empty" side. The researchers first compare and analyze the characteristics of modern theater people's training methods from an "empty" perspective. Based on this, researchers about the meaning and direction of the training "empty". Furthermore, the study concludes with an emphasis on the direction of acting education in the post-drama era, which is free from language that can respond to stimuli and interact freely.

• The Journal of the Korea Contents Association
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• v.12 no.6
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• pp.151-159
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• 2012

The purpose of this thesis is to figure out the mechanism that how can be shown the aesthetic distances of novel in the film. At discussion of the view point, novel can be told by two factors which are 'who is teller' and 'who is watcher' but in the film, novel's narration is divided into visual point and auditive point. And I will consider the phenomenon on the part of this difference. Next, I will argue about difference between novel and film from the Park Jongwon's aesthetic distances which interpreted Lee Munyeol's work. This thesis is going to observe that how the film adapted three types of view point and how that related the subject of the original novel. For this thesis, I tried to track 'the distances' between figure and identity, and reader and author. Also I did approach that how can be accepted the problem of 'aesthetic distance according to identity' based on this novel in the film and novel's text by reader. This study make a proposal or analysis to the differences between novels and films in terms of narrative point of view. Although it is shown by dividing into each chapter in novel and on connectivity in film, this paper finds out that both film and novel are shown the subject of reader's difference of the view point about 'author and director's identity'.

• Cartoon and Animation Studies
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• s.45
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• pp.259-282
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• 2016

Documentaries are being recreated into a new genre and the Web Documentary is the typical case. Web Documentaries are the documentaries those comprise creators and users and they are the novel type of text that the interaction with users is absolute. In this research, two Web Documentaries and are analyzed for examining how Web utilizes its features as expressive media inducing users to experience reality. Web Documentaries have dual and spatial structure that allows user interaction and make users to face with various information and knowledge about reality by its encyclopedic characteristics. Also, Web Documentaries give the role of progressing documentary and expanding text to users and that is, they stimulate users' consciousness reminding that they are the ones who explore through reality. In this process, users of Web Documentaries get potentiality of critically examining the reality suggested by documentaries and grasping the meanings beneath it. These features make Web Documentaries special contrast to traditional documentaries not only with their way of pursuing the reality but also with their meanings. This makes the innovative position of Web Documentaries phenomenon clear, issuing the necessity of the discussion about Web Documentaries more strongly. Web Documentaries are not just new media technological phenomenon, and they have their significance as a fundamental challenge toward traditional documentaries.

• Archives of design research
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• v.12 no.3
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• pp.117-126
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• 1999

The purpose of this thesis is to research the applicatuion of moving typography whcih was analyzed and introduced in Opening Credit of Movies. There are four proposals to apply this plan which was derived from the movement of image transmission and enlargement of the main part. First; By providing a motion to a keyword from a text-based screen, it can enhance the importance of the main part. Second; Use a differentiated CUI (Character User Interface) as a button in order to form the flow data in data sort. Third; The meaining of unknown letters can be conveyed by adding a motion to letter. Fourth; The conveyance of meaning and the visual image transmission method can be used.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2011.07a
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• pp.424-427
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• 2011

방송 환경과 인터넷 환경이 융합되고 스마트 TV의 등장에 따라, 사용자는 복잡한 미디어 서비스 환경에 노출되었다. 이로 인해 사용자가 접하는 미디어 콘텐츠의 종류와 데이터의 양은 기하급수 적으로 증가 하고 있다. 웹과 인터넷을 기반으로 하는 정보기술은 모바일 전자 기술의 발달에 따라 데스크탑 이라는 공간적인 한계를 벗어나 유기적인 유비쿼터스 환경으로 변화하고 있으며, 정보 및 콘텐츠의 개념은 웹문서와 텍스트를 넘어서 UCC, 음악, 영화 등의 모바일 멀티미디어 콘텐츠들로까지 빠르게 확장되고 있다. 또한, N-스크린과 IPTV 서비스의 등장은 사용자로 하여금 장소와 시간에 관계없이 미디어를 취득할 수 있는 이득을 제공할 수 있으나 사용자가 선택은 더욱 힘들어 졌다. 방송 통신 융합 단말에서 콘텐츠에 대한 정보를 제공 받기 위해서는 TV-Anytime 인터페이스, MPEG Query Format 인터페이스, OPEN API 등이 사용 가능하다. TV-Anytime 인터페이스는 대용량 저장 장치를 갖는 방송 단말기에서 메타데이터를 제공 및 검색하기 위한 인터페이스를 제공하며, MPEG Query Format 인터페이스는 MPEG-7을 기반으로 하는 메타데이터를 검색하기 위한 인터페이스를 제공한다. 또한, OPEN API는 업체들을 중심으로 공개적으로 제공 되어지는 API로 개방과 참여를 목적으로 한다. 이에 본 논문에서는 사용자의 콘텐츠 사용 정보를 바탕으로 선호 정보를 생성하고, 이를 바탕으로 콘텐츠에 대해서 강화된 정보를 생성하기 위한 서비스를 설계 및 개발한다.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.313-319
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• 2006

쇼핑, 음악, 영화 등 오프라인에서 즐기던 많은 서비스가 이제는 온라인화 되어 일상화되었다. 그 중 뉴스의 경우도 미국의 리서치업체가 조사한 결과에 따르면, 인터넷 사용자의 21%가 온라인 뉴스를 오프라인보다 더 선호할 뿐만 아니라 온라인에 대한 선호도가 비약적으로 늘고 있다고 밝혔다. 종이 페이퍼로 뉴스를 제공할 때는 정보를 제공하는 공간이 제한적이기 때문에 사용자의 행위를 어느 정도 예상할 수 있다. 그러나 상대적으로 온라인 뉴스와 같은 컨텐츠 서비스는 하이퍼텍스트를 기본으로 하기 때문에 사용자의 패턴을 정확히 파악하기가 쉽지 않다. 컨텐츠 서비스 사용 행위를 분석하기 위해 아이트랙킹, 인뎁스인터뷰 등 여러 방법론을 적용할 수 있으며, 아이트랙킹 연구는 Poynter Institute 에서 2004년도에 진행한 사례가 있지만 여전히 컨텐츠 서비스에서의 핵심 이슈인 컨텐츠 영역에 대한 관심도, 영역별 연관성 파악 등에 대한 객관적 데이터가 부족하다. 따라서 본 논문은 컨텐츠 서비스 사용자의 유저 시나리오 도출을 위해 온라인 뉴스를 대상으로 한 분석 케이스를 소개한다. 본 사용자 행동 분석 리서치 수행을 위해 원격툴을 개발하였으며, 이 툴을 실제로 적용해봄으로써 컨텐츠 서비스 분석시 가능성과 고려사항들을 함께 살펴본다.