• The Journal of the Korea Contents Association
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• v.13 no.2
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• pp.460-474
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• 2013

This research is to verify the effects of Korean wave image on the national image and purchase intention of Korean educational product empirically. Also, it is to find out the moderating effect of engagement when Korean wave image is affecting purchase intention of Korean educational product. In order to verify this, the questionnaires were distributed to the Chinese university students of Shandong, in China, who recognized the Korean wave, and among those questionnaires, 315 were analyzed for this research. As a result of analysis, cognitive images is found out to make a positive effects on the affective image, national image and purchase intention of Korean educational products. And affective images is found out to make a positive effects on the national image and purchase intention of Korean educational products. This result suggests that throughout the factor of Korean wave, we should improve national image and try to find ways to export Korean educational industry to China. In order to activate Korean wave image in China, the government has to review the cultural contents development policies positively like promoting Korean soap operas.

• The Journal of the Korea Contents Association
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• v.16 no.4
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• pp.675-690
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• 2016

The current study attempts to empirically identify a theoretical background that effectively explains Korean pop-culture consumption in the Asian Pacific region; particularly, in China. Specifically, this study investigates how globalism, proximity, and modernity, which have been suggested in literature as key theoretical backgrounds for the Korean wave, influence China's motivation to consume the Korean wave and its subsequent consumption of Korean TV programs (e.g., dramas, variety shows, etc.). The findings suggest that the motivation to consume the Korean wave is positively related to globalism and proximity. Modernity, however, is found to have a negative influence on the motivation to consume the Korean wave. That is, the more one holds international values, the more one perceives Korea as similar to China, and the more one holds traditional values, the more motivation one shows to consume the Korean wave. The study also finds that the motivation to consume the Korean wave has a significant impact on the consumption of Korean TV programs. In the revised model, the study suggests that proximity, followed by globalism, has the strongest positive relationship with motivation. Such a finding suggests that a proximity approach could serve as a better theoretical perspective to explain the phenomenon of the Korean wave in China. Regarding the relationships of the demographic/socio-economic variables and the motivation to consume the Korean wave, females, rather than males, the higher the family income one gains, and the lower education level one has had, the more motivation one will show to consume the Korean wave.

• The Journal of the Korea Contents Association
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• v.14 no.11
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• pp.111-124
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• 2014

This dissertation is to seek new valuable possibility of the 100 best Chinese films on storytelling in Chinese films as considering about content development of Korea and China's Collaborative film production and extension, that being magnified as a new content for variety of Korean film production. The moment to the Korean wave is getting cold in Japan, Korean wave is attempt to receive attention in new field through China by various image field with Korean drama's appeal. However, film content fall short of our expectation than media content, even if supporting much various attempts with Korea and China's Collaborative film production content. Specially, there are not satisfied films for Korea and China both counties's audience, although Korea and China's Collaborative film production has been produced steadily. The writer studies on stories of Chinese essential 100 films for searching deeply this problem. Among them, in selected 'The 100 Best Chinese Films' by China in 2005, films in 1930's are selected as the first step to study, and this dissertation searches to communicate storytelling's meaning in Chinese films through that time image. This studies what is the point of selected story by China, and there are what kind of worries. This dissertation considers that focused on characters, event and background. Chinese film in 1930's represented life in times through process of play development that is connected with poverty, reality of society, death, tragedy and tragicomedy.

• The Journal of the Korea Contents Association
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• v.13 no.9
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• pp.92-101
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• 2013

Hallyu in Malaysia is considered to be in the growth stage as in countries such as Philippine, Myanmar, Hungary, and Uzbekistan. In the growth stage, Hallyu becomes increasingly popular and familiar to the general public and the sales of Hallyu-related products starts to increase. The purpose of this research is to compare how Hallyu is perceived among Malaysian youths and adults. Analysis is carried out using FGD. The two groups are asked about what they think of Korea and the success of Hallyu, how much interest they have in foreign cultures in general, and how they come into contact with them. Based on these results, problems currently facing Hallyu and possible solutions are examined. The analysis shows that the interest in Hallyu among Malaysians varies according to age and gender. Both male and female participants in their 20's have shown a much greater interest in Hallyu than the participants over 30's. But Malaysians are known to be relatively open-minded about accepting foreign cultures, and this is reflected in the current study. They view the popularity of Korean drama, movies, and music as a trend, rather than being intolerant of them. There is no concern for negativity toward Hallyu in Malaysia, but it is likely that Hallyu may be replaced by another foreign culture unless its influence is constantly maintained in the area. Therefore, it is essential to develop measures and models to not only retain, but strengthen Hallyu's influence.

• (The) Research of the performance art and culture
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• no.22
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• pp.327-370
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• 2011

Shakespeare's text "Hamlet" was first introduced in Korea in the first part of 1920s by Hyeon Cheol via 『Gaebyeok』. Its performance of whole acts was realized in Kinema Theater in Daegu by the direction of Lee Hae-Rang (translated by Han Lo-Dan) in September, 1951, during the Korean War. Since then, a variety of performances were carried out by numberless performing artists and performing groups in the 1960s, 1970s, 1980s and 1990s. The purpose of this study was, among numberless performing artists and performances appeared in the history of performance of "Hamlet", to examine Lee Hae-rang's direction standpoint of "Hamlet", which has been one of the mainstays since the 1950s. For this, among many performances directed by Lee Hae-rang, the investigator referred to the performing scripts and performance criticisms for the opening performance of Drama Center in 1962 and the performances in HOAM Art Hall in 1985 and 1989, focusing on the text "Hamlet" performance in 1951. In the second chapter, the concept, standpoint and background of realism, the base of his theatrical activities in his lifetime, were examined. In the third chapter, before analyzing his direction standpoint for text "Hamlet", the traditional and modern concept of text was summarized and a variety of standpoints and viewpoints for the text were analyzed. And based on the above summary and analysis, his direction standpoint was analyzed and examined, thus presenting a clue for the discussion on the position of Shakespeare's text "Hamlet" directed by Lee Hae-rang in the Korean history of performance and its performance aesthetics.

• Journal of the Korea Convergence Society
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• v.11 no.2
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• pp.167-174
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• 2020

The social statistic was used to top 250 Korean and Japanese YouTube channels based on the number of subscribers examine its channel type (private/corporations/others), distribution of contents and private YouTube channels' date of registration. The channel examination was also used to provide practical hint to create new Youtube contents. According to the statistics, Korean channels were mainly managed by K-Culture related companies for the promotional purpose, whereas Japanese channels were mainly managed by individuals with a variety of contents. It is presumed that Japanese individuals have been engaged in creating individual video content since the early period through video uploading platforms other than YouTube such as Niconico Douga. Since the expansion of the YouTube market will continue, it is important not only to reinforce corporations' marketing on YouTube but also to promote the uniqueness and the diversity of YouTube content for the individuals to improve the economical, sentimental, and informational contents in order to create socially effective personal contents that can be competitive in the global market.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.16 no.10
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• pp.6527-6533
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• 2015

It is generally accepted that there are differences between men and women in linguistic communication style. Genderlect is a socio-linguistic term to refer to the linguistic differences spoken by specific gender. Some linguistic features are provided as evidence to show the genderlects: pitch, lexicon, intonation, grammar and styles. The purpose of this paper is to compare the characteristics of genderlect in English and Korean. To do so, I analyzed the scripts of an English movie, 'Mrs. Doubtfire' and Korean tv drama, 'Oohlala couple'. In "Mrs. Doubtfire, tension and laughter arose out of discrepancy from the way he looked (as a woman) and the way he spoke (like a man). The same is true with "Oohlala couple." In the language of Mrs. Doubtfire, male speech characteristics with nouns were salient while in "Oohlala couple" with verb forms, especially with honorific style, which shows a difference between Korean and English genderlect. Korean language has special genderlect characteristics with honorific speech style realized in verb endings. In Korean the highest honorific speech style, 'Habsho-che' is used in official situation and men are more accustomed to it than women. When women have to use polite expressions they have to choose between the highest honorific style, 'Habsho-che' losing the female characteristics or the second highest honorific style 'Haeyo-che' keeping the female characteristics.

• Journal of Christian Education in Korea
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• v.61
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• pp.263-294
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• 2020

In South Korea which has become a multicultural society, ethnic and cultural others have suffered from discrimination against them and isolation from society. Multicultural policies and multicultural public education have simply focused on the assimilation of cultural others without providing opportunities to build a reciprocal relationship between Kor eans and cultural others. Noting this reality, this paper proposes intercultural Christian education as a prophetic and educational role of faith communities in society. Intercultural education, intercultural theology, Miroslav Volf's drama of embrace, and Sang-Jin Park's theory of the ecosystem of Christian education offer theoretical foundations for intercultural Christian education. Based on these foundations, the paper discusses the definition and goal of intercultural Christian education and argues for the roles of intercultural Christian education to help Christ ians "SEE" the self, the other, and the community through self-reflection, embrace, and ecological transformation. As intercultural Christian education pursues to nurture Christians to have a respectful and hospitable mindset toward cultural others, such education will help faith communities seek a multi-colored kingdom of God.

• The Journal of the Korea Contents Association
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• v.13 no.7
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• pp.51-61
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• 2013

This Paper aims to explore the key factors that drive box-office success in Korean, Chinese and Japanese film market regarding to the storytelling of the movies. At first, I researched the top 20 movies at the box office of Korean, Chinese and Japanese film market from 2007 to 2011.And then I tried to figure out the key factors for the success and the differences among those countries. Usually the purpose of the movie planning in Korea is for the domestic market. In the profit structure of Korean film industry, it is really hard to focus on the overseas film market. In Chinese film market, recently it has been changed a lot especially film genre. The movie liked to watch is melodrama, romantic comedy movie It is being changed to the comedy genre from the war and martial arts movie. And it is emphasized the importance of the scenario in the film production. They want to watch their lives like a real and dreams at the movie and the movie tries to show this trend. In Japanese film market, they made movies in which TV drama, animation and cartoon according to the O.S.M.U. strategy. The movies like to watch are the blockbuster movies, horror movies, thriller movies and melodrama. Comparing with Korea and China, they like movies which show more fantastic and fairy tale imagination.

• Journal of Gifted/Talented Education
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• v.15 no.1
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• pp.1-10
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• 2005

Overexcitaility (OE) as a concept that is related to developmental potential, has been shown to differ by intelligence, gender, involvement in school programs and artistic interest in American populations of students. Overexitability, used to describe the five ways that people might experience developmental potential for emotional growth, are emotional, intellectual, imaginational, sensual, and psychomotor. Little is known about the profiles of groups of gifted learners outside of studies conducted in the United States. In order to better understand the emotional needs of Korean students, the purpose of this study was to determine the overexcitability profiles of students enrolled in four high schools, each with a different domain focus: math and sciences, visual and performing arts, and foreign languages. 341 subjects of this study completed the Overexcitability Questionnaire II. Multivariate Analysis of Variance (MANOVA) was conducted to determine statistical differences. The results showed that Mean scores of psychomotor, sensual and imaginational are highest in the Art High School, intellectual is highest in the Science High School and emotional is highest in the Foreign Language High School. There were significant differences among the schools. Each major also showed significant difference. The results showed that mean score of psychomotor is highest in the Dance major, sensual, imaginational and emotional are highest in the Drama majore and intellectual is highest in the Science major. The results showed that the mean scores of psychomotor, imaginational and intellectual are higher in the male students than female students. On the other hand the mean scores of sensual and emotional are higher in the female students than in the male students.