• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2009.05a
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• pp.369-372
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• 2009

Recently, newspapers as well as web documents include many newly coined words such as "mid"(meaning "American drama" since "mi" means "America" in Korean and "d" refers to the "d" of drama) and "anseup"(meaning "pathetic" since "an" and "seup" literally mean eyeballs and moist respectively). However, these words cause a Korean analyzing system's performance to decrease. In order to recognize these unknown word automatically, this paper propose a step-by-step approach consisting of an unknown noun recognition phase based on full text analysis, an unknown verb recognition phase based on web document frequency, and an unknown noun recognition phase based on web document frequency. The proposed approach includes the phase based on full text analysis to recognize accurately the unknown words occurred once and again in a document. Also, the proposed approach includes two phases based on web document frequency to recognize broadly the unknown words occurred once in the document. Besides, the proposed model divides between an unknown noun recognition phase and an unknown verb recognition phase to recognize various unknown words. Experimental results shows that the proposed approach improves precision 1.01% and recall 8.50% as compared with a previous approach.

• 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.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.49-71
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• 2013

Melodrama emerged as a form of the moral in the early modern age. As an approach 'the moral' not only means that rewarding virtue and punishing vice, but also refer to a principle of spiritual life and a way of life. -Melodrama theatricalizes a new vision of human life and society through a new type of the virtuous protagonist and sentiment/-ality. -This allows melodrama to be a dominant cultural form in this modern age, beyond the borders of the theater, mass-media, and literature. Virtue and sentiment/-ality are the core elements of melodrama, which differentiate it from tragedy and comedy especially in the structure and effect of the drama. Actually virtue and sentiment/-ality have been a main target of criticism. Virtue has been regarded as a trite quality of the stereotypical protagonist, and sentiment/-ality as a banal emotion which paralyzes an audience's recognition of reality. -However, this thesis regards both virtue and sentiment/-ality as vehicles for showing and sharing the morals of the modern age. First, the virtues of the protagonist included the general and universal ones of the bourgeois -at that times, the bourgeois represented themselves as a human being- such as the responsibility and obedience of a father, a mother, a wife, a husband, a daughter and a son. They also included the professional ethics such as courage, honesty, and justice and so on. The fall or salvation of the protagonist is largely determined by his/her private individual virtue. Second, sentiment/ality is a theatrical device that makes the audience internalize the protagonist's virtue. The protagonist expresses his/her universal virtue sentimentally, and the audience also expresses their virtue by sympathizing with the protagonist's virtue sentimentally. However, the melodramatic protagonist as an individual, is not connected with society, but remains isolated. As a result, s/he has no influence on the society, where s/he can only ends her/his play alone with a happy-ending. S/he is happy alone, or at best happy with his/her own family. On the contrary to this, tragic protagonist usually fixes social disorder through his/her fall. In that sense, we can say that melodrama presents only the half of the human life.

• Journal of Korean Theatre Studies Association
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• no.52
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• pp.61-115
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• 2014

Die vorliegende Arbeit macht die $Theaterst{\ddot{u}}cke$ von Park seit Mitte der 2000er Jahre zu ihrem Forschungsgegenstand. Park stellt nun mannigfaltige Verfahrensweise von dramaturgischer Technik und $Theater{\ddot{a}}sthetik$ zur $Verf{\ddot{u}}gung$, damit er den Zuschauer auf die gesamten $Zust{\ddot{a}}nde$ der $zeitgen{\ddot{o}}ssischen$ Gesellschaft aufmerksam macht und auch die Teilnahme daran beeinflusst. Indessen benutzt Park die Theorie des Lachens im breiten Spektrum. So verbindet er das Lachen jeweils mit der Komik des Grotesken, des Paradoxons und der Satire, um dessen Effekt zu maximalisieren. Und die $Theaterst{\ddot{u}}cke$ von Park mobilisieren die $Performativit{\ddot{a}}t$ aufgrund der Aisthetik, damit sie die Grenzen jener semiotischen Interpretation ${\ddot{u}}berwinden$, die auf der sprachzentrierten $Repr{\ddot{a}}sentation$ basiert. Infolgedessen wird jene Kommunikation aufgrund der sinnlichen Wahrnehmung aktiv $eingef{\ddot{u}}hrt$, die sich anhand des Austausches von Energie und $Atmosph{\ddot{a}}re$ zwischen $B{\ddot{u}}hne$ und Zuschauerraum vollzieht. Darum zeigt die $Theater{\ddot{a}}sthetik$ von Park jene mehreren gemischten Merkmale, die die traditionelle ${\ddot{A}}sthetik$ der $Repr{\ddot{a}}sentation$ mit der Verfahrensweise der ${\ddot{A}}sthetik$ der Postmoderne verbinden. Indem Park mit Hilfe von der mannigfaltigen Verfahrensweise von Dramaturgie und $Theater{\ddot{a}}sthetik$ zu einem experimentellen Versuch zu Theaterformen gelangt, treten in seiner Theaterkunst eben das $zeitgen{\ddot{o}}ssische$ verdinglichte Gesellschaftsbild und zugleich die $Negativit{\ddot{a}}t$ als eine $k{\ddot{u}}nstlerische$ Kritik daran in Erscheinung. Vor dieser Folie versucht die vorliegende Arbeit nicht nur die Dramturgie und $Theater{\ddot{a}}sthetik$ von Park zu erforschen, sondern auch das daraus resultierende $zeitgen{\ddot{o}}ssische$ Gesellschaftsbild wissenschaftlich zu $er{\ddot{o}}rtern$.

• Cross-Cultural Studies
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• v.44
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• pp.59-85
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• 2016

In the 21st century there has been an explosive gain in the popularity of Korean culture, often referred to as Hallyu, which translates into 'Korean Wave'. This is especially true in Latin America, which has seen Hallyu reach enormous heights. This study investigates the Hallyu phenomenon in Mexico and Peru over a three year period (2012-2014), with the utilization of current facts and media analysis associated with Hallyu. Mexico as a nation is an important one for this study, considering it was the first country to adopt Hallyu in Latin America and still holds a strong influence in the growth and movement of Hallyu in this region. Furthermore, in recent years, Peru has seen the most growth in popularity of Hallyu in Latin America and is therefore an essential country of study. Therefore, an in depth media analysis of the Hallyu phenomenon in Peru will offer a strong case study for further progressing and extending the rise in Korean culture in the region of Latin America. The extension of Hallyu is imperative in its contribution to the ascension of Korea's culture and national brand image.

• The Journal of the Korea Contents Association
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• v.19 no.7
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• pp.211-219
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• 2019

This study analyzed the conflict plots of the top 5 most watched TV series during the 2000-2005 period. It was observed that those popular series typically took love and success as main subject matters to actually aim for such a sensitive social issue as the widening gap between the rich and the poor as well as audience's desire for higher status. They even dared to describe our lives at home and the job as power relationships to heighten the intensity of the conflict. On the other hand, the resolution took a wide variety of both positive and negative endings - ranging from marriages and conciliations to death and arrests - as a way to have the antagonists punished. The deus-ex-machina was often used. A chronological view of the change in the conflict plots of successful dramas should deserve further academic interests.

• Journal of the Korea Convergence Society
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• v.10 no.6
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• pp.259-268
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• 2019

The purpose of this study was to explore physical education majors' subjective perception on sports ideologies using Q-methodology. This study found four types of subjective perception on sports thoughts. Type I is named 'the type of fair victory and defeat.' The subjects of type I emphasize the items of victory and defeat, fair judgement, a drama without a scrip, etc. Type II is named 'the type of sport philosophy.' The subjects of type II emphasize the items of sport philosophy, theory of one of mind & body, great spirit, hwarangdo spirit, sport logic, self-improving, etc. Type III is named 'the type of communication & social activity.' The subjects of type III emphasize the place for communication, social activity, consideration, improvement of the quality of life, etc. Type III is named 'the type of communication & social activity.' The subjects of type IV emphasize welfare, security for the aged, leisure, entertainment(game), healthy, etc.

• Journal of Digital Convergence
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• v.17 no.11
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• pp.523-530
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• 2019

This study examines how global fandom for Korean dramas is formed and maintained by examining the reason and purpose of voluntarily making the subtitles of Korean drama through in-depth email interviews with foreign subtitle producers(fan subber) working on a video site called Viki.com. The research focused on Viki's fan community, which has grown into the most influential Korean Wave platform. Collective intelligence expresses in the fan community produces more than professional results and they are acting as consumers, cultural producers, and second creators of K-content. In order to continue the spread of K-content, it needs to pay more attention to the long-term strategy of global fandom combined with the fan community activities of the new media platform and network effects.

• The Southeast Asian review
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• v.20 no.2
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• pp.73-99
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• 2010

To properly answer the question 'Why have Vietnamese Women kept appearing in Korean Films and TV dramas?', We need to induce Postcolonial discourse along with historical and cultural similarities between Korea and Vietnam. It is because the relationship of two countries can be defined as a neocolonialism specially in view of economic relationship. Koreans need to locate themselves on the superior position by othering Vietnamese women, who are close enough to be compared and also distant enough to be othered. This paper is intended to bring their being in Korean films and TV dramas under the light of postcolonial discourse. According to the postcolonial concepts such as ambivalence, stereotyping and subaltern, Korean films and TV dramas are classified into three groups, which are Vietnam war melodramas, Horror movies based in Vietnam, and TV dramas with Vietnamese brides. War melodramas have been othering Vietnamese woman through ambivalence of the fear of Vietcom warrior and the fascination of exotic beauty. Horror movies, produced about 10 years later, brought the Vietnamese women back to Korean audience, stereotyping them into ghosts, which are incarnated through the suppression and eruption of sexual desire. The third group consists mainly of TV dramas. Their story usually evolves around Vietnamese brides migrating into Korea. The women are forced into the position of Subaltern, not representing themselves in their own voices. Facing multi-cultural society, our visual media are requested to modify their neocolonial approach of presenting Vietnamese women. To accomplish the goal, they have to find ways of storytelling to show the women in their everyday lives and help them to speak for themselves.

• The Journal of the Korea institute of electronic communication sciences
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• v.17 no.2
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• pp.325-332
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• 2022

In this study, real-time character navigation using AR lens developed by Nreal is developed. Real-time character navigation is not possible with general marker-based AR because NPC characters must guide while moving in an unspecified space. To replace this, a markerless AR system was developed using Digital Twin technology. Existing markerless AR is operated based on hardware such as GPS, gyroscope, and magnetic sensor, so location accuracy is low and processing time in the system is long, which results low reliability in real-time AR environment. In order to solve this problem, using the SLAM technique to construct a space into a 3D object and to construct a markerless AR based on point location, AR can be implemented without any hardware intervention in a real-time AR environment. This real-time AR environment configuration made it possible to implement a navigation system using characters in tourist attractions such as Suncheon Bay Garden and Suncheon Drama Filming Site.