• The Journal of the Korea Contents Association
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• v.12 no.8
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• pp.136-145
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• 2012

The purpose of this study is to examine the effect of Korean dramas selection factors for Chinese audiences on the national image of South Korea. The results of this study were as follows: First, selection factors of Korean dramas for Chinese audiences were categorized 'subject and content', 'direction and background music', and 'style of actor or actress'. Among these factors, this study was found that a factor of drama's 'subject and content' had an effect on the selection of Korean dramas for Chinese audiences. Second, 'touristic factor', 'cultural factor', and 'stylistic factor' were examined as a national image factor of South Korea for Chinese audiences. The Chinese audiences surveyed responded positively on 'cultural factor'. The images delivered through the Korean TV dramas have very much influenced the Chinese audiences to view contemporary Korean society as a country of modern and urban elegance. Furthermore, the audiences cognized South Korea is a friendly nation as South Korea and China has a similar cultural background like the Confucian culture. Third, the study found selection factors of Korean dramas for Chinese audiences had positive effects on the national image of South Korean. These positive influences were found on 'touristic factor', 'cultural factor', and 'stylistic factor' From these results, Chinese audiences watch Korean dramas focused on 'subject and content', 'direction and background music', and 'style of actor or actress'. Watching Korean dramas help to create the friendly national image of South Korea. The study shows a possibility to increase an interest and preference on the Korean pop culture.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.171-176
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• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.243-253
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• 2019

Geyonggi-geommu have developed based on the long history of Korean sword dance. Han Sung-joon, the great master of modern music and dance of Korea during the Japanese colonial period, collected and reconstructed folk dances that had disappeared or were cut off due to the policy to obliterate Korean culture through Chosun Music Dance Research Society. Since then, it has been passed down to Kang Sun-young and Kim Geun-hee that has designated as the Intangible Cultural Property No. 53. of Geyonggi-do in 2011. This study focuses on highlighting the uniqueness of Geyonggi-geommu for proper modeling and transmission of Geyonggi-geommu with historical significance so as to understand and preserve the Intangible Cultural Heritage. This study examines the transmission system of Geyonggi-geommu, followed by Kang Sun-young and Kim Geun-hee, originated by the master Han Sung-Joon of Geyonggi-geommu. Geyonggi-geommu has its uniqueness of using the pure Korean dance terminology established by the holder Kim Geun-hee at the time of designation of intangible cultural properties in Gyeonggi-do. The unique features of Geyonggi-geommu are performed and transmitted in two forms, Daemu(Group dance) and Holchum(Solo dance) which are not currently found in other regions. This is meaningful to passed down according to the original form of Geommu(Sword dance). In particular, the Holchum(Solo dance) is a form of artistic dance, showing the beauty of the sword dance during the Chosun Dynasty. In short, Gyeonggi-geommu can be described as an artistic dance with a soft and strong temperament considering its unique features.

• (The) Research of the performance art and culture
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• no.40
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• pp.193-222
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• 2020

In this study, the development of traditional contents is to be enabled to succeed the values of the heritage on the song sang during dry-field farming of Bongpyeong Memil-dorikkaejil-sori. In addition, the identity on the heritage of songs sang during farming were diagnosed, and their value in context with the history and the value as the community for succession are emphasized as the value of cultural asset to expand the discussion up to the level of traditional cultural industry works. In the Bongpyeong Memil-dorikkaejil-sori, the intrinsic artistic value, the excellence of value as the educational experience, factor for overcoming the extinction of farming songs, and the promotion direction of the storytelling on buckwheat were provided. This is breaking from the formalization and being old-fashioned on the Bongpyeong Memil-dorikkaejil-sori to focus on the symbolization of the agricultural heritage in the modern context, habituating and spreading the gene of slash-and-burn field (hwajeon or budaeki). In terms of methodology on awareness, historicity or creativity, alternative method on the folk songs in labor was provided by having critical mind on the Bongpyeong Memil-dorikkaejil-sori and buckwheat songs. By reviewing the field contextualization of designating the intangible cultural asset, suggestions were made on activating the succession, and even the method of symbolic registration on the heritage of buckwheat farming was mentioned. Heritage on agricultural culture that can represent Pyeongchang and Gangwon must be discovered to be made into a brand. In addition, the uniqueness in the Madang 'Song Madaengi Traditional Music' must be found to apply as the brand on the point in which the people around the world can have consensus for utilization. As the farming song, rediscovery of the Bongpyeong Memil-dorikkaejil-sori is required to create the sustainable status as the multi-purpose cultural contents and provide the network of professionals for activating the folk songs to enable the opportunity of qualitative substantiality and spread instead of quantitative growth. In addition, festivals for each region, especially the festival for Pyeongchang area must be utilized centrally on the development of farming songs to organize the storytelling actively.

• (The) Research of the performance art and culture
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• no.42
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• pp.257-290
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• 2021

The Wonju Nongyo (agricultural work song) is geographically classified as eastern minyo (folk song) which has many distinctive, regional features such as tunes, forms and the use of a melodic line. There has been growing attention to the transmission value of the nongyo including the Wonju Eorirang of the Wonju Origol Nongyo and its region of origin. The Wonju Nongyo is of great value and worthy of preservation in the western part of Gangwon Province. For this reason, it seems fairer to say that a focus should be directed towards establishing the identity of the song and increasing the contextualisation of transmission. At the same time, the preservation association's efforts in passing the traditional song down and education activities fairly deserve equal attention. In addition to the way the folk songs are handed down, a discussion on the facilitation of their use will be required. An in-depth discussion about the restoration and use of the song will be encouraged in a multifaceted manner. Unfortunately, few of the previous literatures on nongyo has gone so far as to investigate Arirang as a separate research topic. In fact, the Wonju Origol Nongyo should be viewed as an intangible cultural asset that paved the way for performance artistry of the Korean agricultural work songs to be seen at a national folk art festival. From the perspective of regional characteristics (traditionally termed "tori"), the Wonju Eorirang represents the cultural value of the manners and customs of our locals which constitute unwritten and neglected literary property and musicality of the song. Particularly, a more attention should be paid to making a record of woodcutters and diversity of farmers' small cooperative groups. The existence of the Wonju Eorirang indicates that the melodies to which the song are sung in Nongyo are of infinite variety. A minyo-singer unfolds various journeys of life through various modes and structure of epic chants, ranging from first encounter, love to marriage, realistic problems to relationship with husband's family and death. The epic chant of the Wonju Origol Nongyo contains a rich variety of regional sentiments about life. In particular, the epic chants of the Galtteukgisor and Ssoeltteukgisori are a genius example of sexual satire and a sense of humor. In the past, the agricultural work songs were rhythmic songs served to synchronize physical movements in groups, coordinating tasks in upland farming and rice paddy with the usage of catchy, repetitive verses easy to pass down. The Wonju Origol Nongyo is a precursor of the work songs which took the farming activities a notch higher to be part of the excitement and festivals. In the context of transmission, a festival serves to demonstrate the value of history and life. The value of the Wonju Eorirang should be appreciated and a concerted effort should be made to find a way to facilitate the transmission of the folk song. A folk-singer is a traditional oral poet and a storyteller of minyo and the forms and species of melody solely depend on the signer. The combination of performance and witticism is shown by the singer freely expressing himself. The Origol Nongyo symbolizes ethnic arts cleverly combining playful effects such as tune, rhythm and old agricultural work of the region. It is to be hoped that much of the efforts is directed to designating such folk songs as the archetype of a cultural heritage. In terms of the foundation on which the folk songs are transmitted, the usage(Performance Content) of a community would be an alternative.

• Proceedings of the Korea Contents Association Conference
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• 2006.11a
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• pp.759-762
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• 2006

Historically, internet is the fastest growing media together with the ICT development and the key of the development is contents. Digital contents indicate information which covers voice, DB, game, publications and music etc. and the areas have been creating new technology business opportunities. The value chain of digital contents consists of production, collection, processing, services, connection and navigation and is expected to be reorganized around business players of production and distribution areas. This paper presents on those changes occurring in business environment and examples of business models, and further provides industries and academias with technology commercialization strategies.

• Archives of design research
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• v.16 no.4
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• pp.129-140
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• 2003

As the importance of Culture Technology (music, publication, mobile, film, video, cartoon, animation, character, game, broadcasting etc) is increased, the field of character industry recently has been recognized as an independent brand value beyond the existing view point of simple designing; it also has been given much attention as a main axis leading the cultural industry of the 21 st century. The character of a local government plays roles such as a symbolic part of a region, parts of tourism and public relations, and a profit-making function, which results into generation of regional image and activation of regional economy. However, the present application strategy of the character is only limited to an early stage of regional advertisements. In this context, this study is aimed to investigate and analyze the character development of local governments, especially 31 cities and goons of Gyeonggi Province, comparing with those of local governments of Japan. In the long run, this will provide some suggestions for strategy of character applications. Then, this research is expected to be used as basic reference materials for character development of other local governments and government agencies.

• The Journal of the Korea Contents Association
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• v.16 no.2
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• pp.106-116
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• 2016

What made stand out among these police procedurals was its focus on the importance of history to understand both the past and contemporary society and culture. Many of the cases involve aspects of history that are not part of mainstream narratives and constitute the unfinished business of America. The flashback sequences throughout the show visually and affectively transport the viewer back to an earlier historical moment. What all the victims have in common is that they refused to be silent or passive in the face of circumstances they believed were wrong, or they refused to conform to dehumanising and destructive social and cultural expectation. Those promoting these lies have the power to establish their version as the power to establish their version as the "truth" of what happened in context, but viewers are positioned to see the truth as the victims experienced it and to identify with them and against the power abusers. The Cold Case detectives pursue the ghosts of American history, restoring to our view stories of lives and experiences rendered invisible and unspeakable by dominant forms of knowledge and power. The series invites viewrs to empathize with the victim and to develop an ethical commitment to social justice in the future.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.261-266
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• 2020

As pioneers of the early video art, Steina Vasulka(1940-) and Woody Vasulka(1937-2019) had lead not only their own experimental arts, but also entire changes of contemporary avant-garde performance, music, and visual art. Two artists invented and developed electronic machines for video image-processing by collaborating with engineers, and performed creative experiment on transformation of digital image. For them, video art is not just a means of documentation. The Vasulkas' artistic practices were not bounded by conventional canons and rules in art world, and preferably were parts of active aesthetic strategies for coexistence of vision of human and vision of machine. Particularly, their video art recognized the video as the key medium in an era where media technology began to dominate the system of communication, and established artist's authority over manipulation of moving image electronically without depending on video camera. In that regard, we can value on their video art. Therefore, the paper reflects on the Vasulkas' art and life which have not yet been studied, and suggests academic interests in the context of their artistic activities and aesthetic strategies.

• Journal of the Economic Geographical Society of Korea
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• v.15 no.1
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• pp.131-145
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• 2012

During the 1980s and 1990s, most of the old industrial cities of advanced countries have experienced serious de-industrialisation. This has caused many problems, such as economic decline, increasing unemployment, environmental degradation and social unrests. Since the mid-1980s, some of these cities have started to tackle the problems by urban regeneration programs with cultural and artistic activities, new industries, and implementing housing projects. The cities of Newcastle and Gateshead in Northeastern England were the examples of the ones which have created major development projects, such as building condominiums, renovating old factory building, and promoting cultural and art activities. This paper introduces policies and programs of the cities' urban regeneration, analyses their governance structure, and articulates factors contributing to the success of the policies and programs.