• The Journal of the Korea Contents Association
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• v.20 no.8
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• pp.538-546
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• 2020

This study uses a epidemic film that is being re-illuminated due to the recent appearance of COVID-19. In particular, The flu, Train to Busan, and Deranged are representative works of the "Epidemic Genre" in domestic disaster films, and their performance reports are different. Researcher set the pandemic film as one aspect of the genre film, and analyzed and compared three films in terms of three elements of the genre film: formula, convention, and iconography. An important element in the epidemic film was the improvement of reality through 'suspension of suspense' and 'ambiguity in the epidemic setting'. Lastly, Researcher hope the Korean film industry will develop more deeply through the "Epidemic Genre," a new genre of Korean films that has been spotlighted by the COVID-19 incident.

• The Journal of the Korea Contents Association
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• v.13 no.10
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• pp.160-169
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• 2013

The materials used in the title sequence connotes a style & a content of film comprehensively. Therefore, the effect of emotional expression can be changed according to what materials are selected. Thus, the materials of which 42 title sequences are collected for the last 10 years are classified, and the category of materiality & material degree are defined with the semiotic rectangle. To investigate intensity of the material degree, the survey was done. As a result of the survey, the intensity was classified into 3 levels of material degree. The category of materiality used according to the genre of film was analyzed. As a result of the analysis, the materiality was selected according to the content regardless of genre, but there's any difference in the material degree. The intense material degree was used in a thriller and an SF mystery genre, and the medium one was used in the general genre, but, above all, drama and action genre. The weak one was used in a variety of genre, but specifically horror, SF mystery genre. It is significant that this study suggested the expression method in accordance with selection of materials in producing a title sequence to visualize film symbolically.

• The Journal of the Korea Contents Association
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• v.21 no.7
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• pp.13-19
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• 2021

While watching the movie, the audience shows various emotional reactions. Emotional reactions such as sadness and anger, joy and anger appear depending on the storyline of the film. This aspect can be seen through the audience's brain wave response. This study is to examine the relationship between the movie story development and the movie story development through brain wave measurement of the emotional reaction of the audience in situations and events occurring in the movie development. Four American films, which represent each genre and are well known to many people, were selected for the study. These are of the adventure genre, of the animation genre, of the action genre, and of the drama genre. In order to measure the emotional response of these movies, four cases were set centered on the PPG of EEG and analyzed as a time series graph pattern. It can be seen that the emotional response on the graph has a certain relationship with the story development. It is expected that this study will help in selecting a genre when making a movie in the future, especially when deciding how to compose and develop a story, and it will help to induce the emotions of the audience.

• Cartoon and Animation Studies
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• s.12
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• pp.44-55
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• 2007

Nous conduisons tous les codes graphiques specifiques d'un genre de la bande dessinee coreenne, sounziang manwha, e la "decorativite". Afin de mieux rendre compte de cette decorativite, nous suivons un chemin qui aborde des divers etats de cette specificite. Etant donne que la decorativite n'est pas originaire, ni propre totalement au genre, nous nous interessons e ses formes differentes dans les genres precedentes : dessin de mode, dessin lyrique, illustration, affiche, shojo manga, etc. Ils nous permettent e voir des ressemblances et des differences dans les styles graphiques. Nous parvenons enfin e comprendre ce que la decorativite en bande dessinee est attachee intimemnt aux traits fictifs et irreels du diegese.

• 한국HCI학회:학술대회논문집
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• 2006.02b
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• pp.442-449
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• 2006

탈 장르화와 영상의 다양화로 예술에서의 표현의 한계는 극대화 되고 있으며, 디지털 매체를 통한 인터랙션 역시 디지털 아트에서의 보편적인 표현 방법으로 전환 되었다. 예술에서의 상호작용은 보여주는 것에서 참여하는 것으로의 전환을 꿰 하고 있고, 디지털을 기반으로 한 다매체, 다중화가 이를 뒷받침 한다. 상호작용을 위한 디지털 아트 작품을 위해서는 센서를 이용한 표현방법들이 있으나, 기타의 센서도구를 사용치 않고, 단지 카메라로부터 입력된 신호만을 기반으로 영상과 관객의 상호작용을 끌어 낼 수 있다. 이를 위해서는 모션트레킹을 위한 알고리즘을 응용함으로써 사물의 밝기 값에 충족한 데이터를 만들어 낼 수 있고 그에 해당하는 밝기의 변환 값을 이용해 미세한 사물의 변화를 감지 할 수 있는 것이다. 이런 일련의 영상작업을 위해서는 사물의 움직임과 반복성을 얼마만큼 인지하고 감지 해내느냐고 관건인데, 다시 말해 한번 측정한 움직임이 있는 사물의 데이터도 프로그램상에서 계속하여 인지가 되어야 하고, 그 데이터 값을 영상으로 반환하여야 하는데, 이는 영상의 지속적인 변화를 가져 올 수 있다는 걸 의미한다. 따라서 본 논문에서는 모션 트래킹의 기본 알고리즘을 제시하고 영상작품과 인턱래션작품의 변환를 위해 사용된, 센서 대체도구인 웹 캠의 데이터 즉, 색상 값과 밝기 값을 적절하게 활용함으로써 표현의 다양성을 이끌어 내고 디지털 인터랙티브 작품으로써의 제작을 꾀하고자 한다.

• Journal of Digital Convergence
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• v.19 no.4
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• pp.259-265
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• 2021

This study is a study on the mobile gamification of PC games through analysis of the differences between PC games and mobile games, their respective advantages, and operation patterns, and attempts to extract important key elements of the mobile game process. The main methods of converting PC games to mobile games were analyzed and presented in four ways: complete transplantation, simplification, specialization and new genreization based on the standard of existing PC games. It is expected that PC games can play a role in providing guidelines for mobile gamification of PC games through the case analysis of existing games that have been converted to mobile games, as well as providing a path for the development and trends of game companies.

• Proceedings of the Costume Culture Conference
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• 2003.04a
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• pp.106-107
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• 2003

오늘날 국제화, 다양화, 다원화 현상으로 각 문화영역들이 상호 교류하면서 크로스오버라는 새로운 문화 현상이 나타났다. 서로 다른 장르가 만나 새로운 것을 만들어 내는 것이다. 동ㆍ서양 복식에 나타나는 힙에 대한 확대와 파장의 크로스오버 연구는 다양한 의복구성과 미의식에 대한 새로운 해석 방법이라는 점에서 그 의의가 있다. 이에 본 연구는 복식에서 힙의 확대와 과장의 의의와 그것에 내재된 조형미를 크로스오버의 공간적ㆍ시간적 관점에 맞추어 고찰하였다. (중략)

• Cartoon and Animation Studies
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• s.48
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• pp.173-197
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• 2017

The purpose of this study is to investigate the extensibility of transmedia contents of fantasy genre, and then to examine the characteristics of trans-media contents and analyze how the contents of fantasy genre have become trans-media. The definition and characteristics of the trans-media are distinguished from the existing theories such as One Source Multi Use (OSMU) and Crossmedia. At the same time, this study analyzes the extensibility of the trans-media contents applied to the fantasy genre and it compares with other medias such as novels, videos, games, etc. This shows that the game of the throne was more like to the second order adaptation through video adaptations that succeeded in success compared to the original novels that in expanding into trans-media compared with existing fantasy genre contents represented by the Lord of the Ring. The difference is that although the game of the throne is a fantasy genre content, it does not inherit the existing database genre elements, and it has been found that it has a different aspect from the existing customary form from the role of the character to the whole narrative. The analyzes presented in this study are equally valid for single content, not just for transmedia specific elements.

• Journal of Broadcast Engineering
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• v.25 no.6
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• pp.861-869
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• 2020

We introduce the application that automatically makes several images stored in user's device into one video by using the different climax patterns appearing for each film genre. For the classification of the genre characteristics of movies, a climax pattern model style was created by analyzing the genre of domestic movie drama, action, horror and foreign movie drama, action, and horror. The climax pattern was characterized by the change in shot size, the length of the shot, and the frequency of insert use in a specific scene part of the movie, and the result was visualized. The model visualized by genre developed as a template using Firebase DB. Images stored in the user's device were selected and matched with the climax pattern model developed as a template for each genre. Although it is a short video, it is a feature of the proposed application that it can create an emotional story video that reflects the characteristics of the genre. Recently, platform operators such as YouTube and Naver are upgrading applications that automatically generate video using a picture or video taken by the user directly with a smartphone. However, applications that have genre characteristics like movies or include video-generation technology to show stories are still insufficient. It is predicted that the proposed automatic video editing has the potential to develop into a video editing application capable of transmitting emotions.

• Journal of Popular Narrative
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• v.25 no.4
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• pp.9-43
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• 2019

Web novels are one of the most actively adapted genre novels under a new medium called the Internet. Research on cultural content implemented on top of digital media is naturally closely related to environmental changes in digital media. The same goes for Web novels sparked by the identity of Web platforms. Especially in the case of web novels, the platform itself that provides them has triggered direct changes in genre code and reading patterns. From this perspective, this thesis wanted to examine the formation process and strategic features of web novels, which became content and products on the web platform environment. First of all, through the formation process ranging from communication novels to Internet novels and web novels, I arranged the transition to digital media and the change of genre novel market. This was an attempt to extract that Web novels not only have continuity as genre novels, but also have a turning point as digital content. Web novels are digital content that internalizes the values of the Web 2.0 era. It should also be a core product that grows the pie in the market in its own right. This paper noted that web novels are content that embodies these consumption values. So this thesis considered about what is the visualization and commercialization strategy of the web-based novels that is currently formed, and what is the current status of the web-based romance novels as the content and the product that is driving OSMU most actively in the process of commercialization. Through this process, I found that the greatest characteristic of web novels as genre novels that have evolved into digital content is their division and crack of genre.