• Journal of Korea Entertainment Industry Association
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• v.13 no.2
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• pp.123-132
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• 2019

This paper analyzes the performances of actor Song Kang-Ho in the background of interdisciplinary and integrated film acting, using performance rather than acting as a general term. If the act is a concept limited to acting training or acting skills, performance is a broad concept that includes expressions, movements, and emotions. The performance on the screen can be explained in the context of film and can be extended to the social attitude of acting. In addition, I used the term screen in terms of representation rather than film referring to medium. Song Kang-Ho expressed the performances of various characters in more than 30 films. Although his facial expressions, gestures, and voices suitable for individual characters in various genres are represented in various ways, personality inherent in the actor Song Kang-Ho integrates persona with character. What drives it is the social attitude of screen performance. As a sign, acting is an ideological construct and foregrounds a character who describes a certain social and historical moment. Song Gang-Ho as actor, persona and character, who asserts the popularity, speaks to society and makes discourse. His comic performance is always confronting the tragedy of life, his face is the spirit of the times, and it expands into social meaning. The face of the close-up does not laugh at all, the gesture symbolized by the curved rear view is exaggerated disorderedly and disturbingly, and the voice using dialect accent does not follow the standard of the vocal.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.111-116
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• 2020

This is a case study of corporate culture marketing to commemorate the 10th anniversary of the death of Steve Jobs on October 5, 2021. Corporate culture marketing seeks to derive cultural consumer values through Steve Jobs' fandom, and to increase corporate brand image and achieve profits. According to Big Data, Steve Jobs' brand image was derived from 'Innovation', 'First', 'Creativity', 'Change', and 'Design'. So, the relationship between Spigen convergence culture space 'SpigenHall', which is highly related to Steve Jobs' brand image, and the opera , which is made of the material of former Apple CEO Steve Jobs, is analyzed with big data and culture. We investigated the opinions of content experts. SpigenKorea and the digital opera are designed to provide Steve Jobs' story of joy and sorrow, offer VIP members' premium services, press publicity is 'the first in Korea', GangNam's suitable for famous celebrity performance venues and cultural and artistic venues 'SpigenHall', the revenue of the performance ticket was selected as a donation. This study is suitable for researching the life story of male CEOs and planning a cultural city. The limitations of the study need to analyze various works by genre and attempt to analyze consumer values according to the industry.

• The Journal of the Korea Contents Association
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• v.21 no.11
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• pp.243-256
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• 2021

is a film that lifted Director Joon Ho Bong and Korea to the world-class level. A number of researchers have released findings of studies on based on their own interests and perspectives. The current study discussed the historical facts of black comedy in film and how black comedy from play has been used for epic characteristics and formal measures, although it was not a specific rule, through the perspectives of contemporary writers, such as Beckett, Ionesco, Durrenmatt, and Brecht. Some tools used for comedies and tragedies shared the same concept with black comedy in film and black comedy was a unique characteristic of film. The study analyzed how black comedy was signified in for paradox and nonalignment of purpose/intent and consequences as epic characteristics and parody, grotesque, and coincidence as formal measures. It also discussed the meaning of Director Bong's black comedy in and how the audience accepted it. Both the contemporary writers and Director Bong has a compassionate perspective, but the his was different from the work of other contemporary writers. Therefore, the study discussed his creativity behind .

• Archives of design research
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• v.17 no.1
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• pp.265-276
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• 2004

User experience in web site is beyond Usability, and should be understood in a context. However, the concrete contextual factors of web site experience is not systematically established enough. Therefore, the objective of this research is to establish a framework of mapping experiential context factors with analyzing real web site use cases, and to propose how it is can be applied in the process of web site contents planning. First of all, theoretical framework for the web experience and contextual factors was prepared by secondary research. Second, user experience on music casting sites was collected through web diary method, self-video recording method, and group interview. Then, collected experience was re-constructed with scenarios. Scenarios are analyzed into contextual factors and these factors are categorized, given hierarchies and located into context map. Third, the possibility of applying the context map of web site experience was discussed. The systematical and concrete sample of context map based on practical use cases can be applied in the innovative and cross-genre web contents planning process.

• Journal of The Korean Association For Science Education
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• v.39 no.1
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• pp.45-57
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• 2019

NOS education through the history of science is regarded effective. However, science teaching has been criticized for not considering the interest of the learners enough and providing the context of learning themes that hinder the understanding of NOS. This study intends to convey the NOS element through the rich context of storytelling. The theme of the story is the history of continental drift, in which, the debate of many scientists and Wegener's creativity are prominent. Of the various media that deliver storytelling, the most powerful medium that leads to personal immersion is computer games, and among many kinds of games, the main genre of storytelling is role-playing games (RPGs). We developed the science history role-playing game (SHRPG) focusing on continental drift. The game development procedure followed Kim's 4F process (2017), which consists of the Figure Out, Focus, Fun Design, and Finalize. The story was constructed based on the NOS elements of Lederman et al. (2002), namely creativity and imagination demand, subjectivity, socio-cultural personality and tentativeness, which are all present in the story of the continental drift theory. The mechanics and rules of the RPG included quests, rewards, quizzes, NOS scores, and rankings. In the final phase of development, the game developed was pilot tested four times. The results of the tests showed that students' understanding of NOS through SHRPG has increased, especially in the creativity domain. The students' satisfaction with the fun, sympathy, and immersion during the game was very high.

• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.81-88
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• 2019

This article aims to identify the characters and theme shown in dance costume and utilize them from an educational perspective by constructing digital museum archiving, which can be systematically collected, classified and stored from dance costume. It deals with definition of digital museum archiving as theoretical background and examples of how to create digital museum archiving as research content. The role that archiving plays in digital museum and effectiveness have been demonstrated. Archive is a term used to indicate extensive material and its storage and referred to as an integrative model of display in the computer-generated space. When it comes to producing dance costume as a form of digital museum, the museum is to be made in the computer-generated area of dance costume. The museum shows each division of major, medium and minor classification. The major classification divides genre of dance performance into Korean dance, modern dance and ballet. The middle involves choreographers, costume designers. The minor categorization includes newspaper, interviews, performance pictures, and programs. Digital museum has the value of space utilization, creation, culture, utilization of multiple educational programs, offering of digital museum content, two-way communication, and program development of the new display form.

• Journal of Korea Entertainment Industry Association
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• v.13 no.8
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• pp.267-280
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• 2019

The hybrid phenomenon of pronunciation of K-Pop lyrics, which is the diction fusion phenomenon of lyrics, is not a strategic measure for an overseas expansion but a natural formation in the course of history of K-Pop. With the debut of Seo Tai-ji and Boys in 1992, the course of K-Pop changed and settled from ballad to dance music. After three years, the success of a hip hop dance music, 'Come Back Home', opened up a door to Korean Americans who ascertained the potential competitiveness of a hip hop music in K-Pop market. And the writer insists that such advance of Korean Americans into K-Pop market is the origin of the bilingual usage and diction fusion phenomenon of K-Pop lyrics. Therefore, this research will look into the pronunciation system of Korean and English in order to understand the bilingual pronunciation system shown in the lyrics sung by Korean American hip hop singers in the 1990s. Moreover, through Korean pronunciation system, this analysis will discover the main cause of continual acceptance and application of Korean American's broken Korean in the diction of lyrics. Last but not least, this exploration will show the correlation of English pronunciation method of Korean lyrics appeared in K-Pop and the diction of Korean lyrics used by Korean American hip hop singers in late 90s. This research will identify the primary cause of the diction fusion phenomenon in the course of history of K-Pop.

• Cartoon and Animation Studies
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• s.24
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• pp.223-246
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• 2011

Today, cultural content industry could be defined to service business rather than manufacturing business because of its own trait. Also, it has the realistic restriction that it can't hold the dominant position in the market competition when it can't provide consumers satisfaction regardless of its quality or degree of completion. In other word, it can only expect great success when the business plan and the activities get the perfect balance with its best quality and perfect of completion. As the result, it emphasizes the importance of business competition in the global market. In briefly, there is no doubt that the creativeness of content is very important in the cultural content industry but in the future, making system to maintain the distribution process and share the profits fairly will be taken more important role. Especially, animation genre has the feature, which compares to other genres, such as film or TV drama, would be free from cultural barriers, and it is a great advantage. So to speak, animation can get little influence from cultural discount. However, Korean animation can't use the advantage properly for the foreign distribution because of its poor infrastructure and short of professional human resources. For those reasons, it has been needed to set up the realistic and specific action plan to overcome the situation. Therefore, considering those needs and the situations of Korean animation facing, making B2B online marketplace could be a great solution. The online marketplace stands for taking more efficient and broad distribution channel instead of the passive way, which we have now. If we have the B2B online marketplace, we can share all the information about the Korean animation with the potential customers whom live outside of Korea at real time. It also could be use to the windows of multiple distribution, which can make additional profits and activate the optional markets for the Korean animation. Through the method, Korean animation would be expected to get the higher international competitiveness, and it would be developed in quality and quantity of the business. Finally, it would be a great chance to Korean animation, which can get the unique brand power by improving the backward distribution circumstances.

• Journal of Popular Narrative
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• v.26 no.1
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• pp.175-209
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• 2020

This paper examines how the cinematic representation of the Japanese military "comfort women" stimulates 'imagination' in the realm of everyday life and in the memory of the masses, creating a common awareness and affect. The history of the Japanese military "comfort women" was hidden for a long time, and it was not until the 1990s that it entered the field of public recognition. Such a transition can be attributed to the external and internal chronopolitics that made possible the testimony of the victims and the discourse of the "comfort women" issue. It shows the peculiar status of the comfort women history as 'politics of time'. In the same vein, the cinematic representations of the Japanese military "comfort women" can be found in similar chronopolitics. The 'comfort women' films have shown the dual time frame of the continuity and discontinuity of the 'silence'. In Korean film history, the chronotope of the reproduction of "comfort women" can be divided into four phases: 1) the fictional representations of "comfort women" before the 1990s 2) documentaries in the late 1990s as the work of testimony and history writing, 3) melodramatic transformation in the feature films in the 2000s, and 4) the diffusion of media and categories. The purpose of this article is to focus on the first phase and the third phase in which the issue of 'comfort women' is represented in the category of popular fiction films. While the "comfort women" representations before 1990 were strictly adhering to the framework of commercial movies and pursued the sexual exploitation of "comfort women" history, the recent films since the 2000s are experimenting with various attempts in the style of popular imagination. Especially, the emergence of 'comfort women' feature films in the 2000s, such as Spirit's Homecoming, I Can Speak, and Herstory, raise various questions as to whether we are "properly" aware of issues and how to remember and present the "cultural memory" of comfort women. Also, focusing on the cinematic representation strategies of the 2000s "comfort women", this article discusses the popular politics of melodrama, the representation of victims and violence, and the feature of 'comfort women' as meta-memory. As a melodramatic imagination and meta-memory for the historical trauma, the "comfort women" drama shows the historical, political, and aesthetic gateways to which the "comfort women" problem must pass. As we have seen in recent fiction films, the issue of "comfort women" goes beyond transnational relations between Korea and Japan; it demands a postcolonial task to dismantle the old colonial structure and explores a transnational project in which women's movements and human rights movements are linked internationally.

• (The) Research of the performance art and culture
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• no.40
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• pp.223-268
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• 2020

In contemporary Theatre, the case of inducing direct communication between the audience and the performance is prominent. Especially with the development of digital technology, the audience wants a personalized experience. The emergence of 'immersive Theatre' in this trend has attracted great attention both at home and abroad. In particular, the most important role in the emergence of the concept of 'immersive Theatre' is the British punchdrunk Theatre. Their representative performance began to premiere in London in the UK in 2003 and has expanded to include New York and China in Shanghai and continues to be extremely popular until 2019. In general, a review of existing studies on the role of the audience in shows that the focus is on the participation of the audience. What experience will be given to the audience can not be emphasized in contemporary Theatre. In order to satisfy the diverse needs of the audience, contemporary Theatre are increasingly showing complexity that cannot be explained by any one theory. The same goes for . This is because each audience wants a personalized experience, and there are differences in experience depending on the environment in which the audience also grew up, knowledge, culture, and taste. This study selected Punch Drunk's as a performance that can represent contemporary Theatre, and conducted a study on the role of audience in contemporary Theatre. To this end, we have historically explored past discussions about the role of the audience and discussed the characteristics of the role of the audience in contemporary Theatre. Next, I analyzed in detail the experience of the researcher "He" who watched the performance with the researcher on the role of the audience in . In conclusion, the experience of the audience in is diverse and complex. In other words, the role of the traditional audience in the proscenium play, as well as the audience as a participant in the post-drama play, was also complex in the performance. And this complexity was not a coincidence, but a planning strategy for the Punchdrunk Theatre. Therefore, when discussing the role of the audience in contemporary Theatre, there should be a discussion that clearly sees the complex characteristics of contemporary Theatre through the approach from various perspectives, rather than merely one view of the audience as a participant. something to do.