• The Journal of the Korea Contents Association
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• v.15 no.12
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• pp.141-152
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• 2015

If we look into genre movie, we can see that almost similar forms are repeated in a movie. Such similar elements are largely divided into three units from a mass of story to a very small camera angle. Those can be explained as Formula, Convention, and Iconography. Among those three, convention means custom and it is a structure or an incident in which one story can be divided into second one. Convention is an incident visualized in individual genre, and a movie director tunes audiences through the incident. The director leads a familiar story but all of a sudden, he transforms the familiar scene to a new story. As a product established from the beginning of movie history, movie convention helps communication between audiences and a director. Audiences familiarize themselves with movie convention through repeated activities of watching movies, and the director utilizes it to provide audiences with familiarity. Director Bong Joon-ho not only tunes audiences through traditional convention but also creates a new art work through transformation of convention. A study is conducted on how he used traditional convention and transformation to get a new idea and to engage in his work through his work .

• Journal of the Korean Society of Costume
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• v.59 no.1
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• pp.29-46
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• 2009

Aiming at finding symbolistic meanings and characteristics of makeup in Chinese Beijing Opera("BO"), this study formulated a theoretical framework mainly from literature in the Symbolism and symbolistically analyzed materials related to BO makeup from literature, internet web pages and illustrated news concerning performing arts. Main objects to analyze are the characteristics of four main roles in BO and the patterns, symbols, ornaments and traditions of Beijing Opera facial makeup("BOFM"). Four main roles are Sheng, Tan, Ching and Chou, categorized by gender, age, social position and personality. The result to analyze symbolistic meanings and characteristics of makeups for the roles in BO are as follows: the patterns and colors of BOFM function as explanations to help audiences understand each role's personality and dramatic situations as well as provide hints about the development and ending of an opera: that is, BO makeup is a communicative intermediary between audiences and actors in BO. It tends to follow the stereotypes, which conventionally dress and exaggerate the characters of roles, and copy the traditional Chinese perception about colors. Thus, by the metaphysical and typical expression of BOFM, Chinese people have not been pursuing the realism in opera but applying BO makeup to a mutual communication method between audiences and performing artists as to share their collective cultural heritages and spirits. Threfore, BO makeup has been an interacting language between the two entities and grown within the history of BO as a beauty art to highlight a BO by its unique systems, ornaments and beauty.

• The Journal of the Korea Contents Association
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• v.15 no.5
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• pp.88-97
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• 2015

Consumers' interest in performance art is increasing with the advent of the 'culture era', and there is a need for marketing strategies for market base expansion and research in order to achieve this. Therefore, the aim of this study was to empirically establish the effect of service quality factors perceived by consumers during musical performances on audiences' relationship quality. Research results showed that the quality of the physical environment and of results, i.e. service quality, affected commitment and satisfaction, and quality of interaction had a significant effect on satisfaction. Moreover, commitment and satisfaction with relationship quality had a significant effect on loyalty. This study confirmed which service quality elements were considered important for audiences' commitment and satisfaction when attending musical performances, and thus suggests opportunities to understand audiences' consumer behavior and better improve their relationship quality.

• Journal of Korea Society of Digital Industry and Information Management
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• v.10 no.1
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• pp.147-155
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• 2014

The rapid increase in the penetration rate and diverse utility of smart devices opens an opportunity for a development in creating a user-oriented ubiquitous system. And it allows audiences to deploy the exhibition-helping contents regardless of the restriction of place and time with using the smart devices of audience themselves. Also it needs to build a mobile web-based portal system for the related services. To do this, Firstly, it needs the corresponding strategies on a smartphone-based environment such as technical competence, systematic preparation of exhibition with compatible mobile contents, and a compatible channel for interactivity. Secondly, it needs the differentiation of exhibition guide with the existing system: an adoption of augmented reality, panoramic technology and simulation effect aiming for an improvement in a sense of immersion and reality for audience, and building up additional contents with a diversity of formats of image, sound, and video for customer satisfaction.

• Asian review of World Histories
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• v.2 no.1
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• pp.17-45
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• 2014

Okakura Kakuz$\bar{o}$ (1863-1913), the founder of the Japan Art Institute, is best known for his proclamation, "Asia is One." This phrase in his book, The Ideals of the East, and his connections to Bengali revolutionaries resulted in Okakura being remembered as one of Japan's foremost Pan-Asianists. He did not, however, write The Ideals of the East as political propaganda to justify Japanese aggression; he wrote it for Westerners as an exposition of Japan's aesthetic heritage. In fact, he devoted much of his life to the preservation and promotion of Japan's artistic heritage, giving lectures to both Japanese and Western audiences. This did not necessarily mean that he rejected Western philosophy and theories. A close examination of his views of both Eastern and Western art and history reveals that he was greatly influenced by Hegel's notion of dialectics and the evolutionary theories proposed by Darwin and Spencer. Okakura viewed cross-cultural encounters to be a catalyst for change and saw his own time as a critical point where Eastern and Western history was colliding, causing the evolution of both artistic cultures.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.15 no.8
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• pp.4844-4852
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• 2014

Many festivals are based on overseas municipalities 'city image marketing' planning. This trend is gradually reflected in this country as with the Kimcheon International Family Theatre Festival in the Republic of Korea. Gimcheon promotes itself as the central city of happiness 'city image marketing'. Most of these dimensions are in the middle of planning a festival when the Manjiman Kimcheon International Family Theatre Festival Theatre Festival, and the differentiation of the other audiences that drive successful practices in terms of box office need to be determined. This paper presents the history and status of the Kimcheon International Family Theatre Festival Theatre Festival and others based on the reports point out the distinction of a 100% share of the audience for the fifth consecutive year to analyze the cause. In particular, with local art and local performing arts festivals, audiences through a combination of 'show' Theatre Festival are also indirectly involved in the 'touch and feel' willingness to participate. In the Kimcheon International Family Theatre Festival there are significant challenges for improvements in significance.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.7
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• pp.828-840
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• 2011

Fine art and clothes have been closely connected since art became part of civilization. However, there relationship was one-sided rather than exchanging the essence of each other. In the $20^{th}$ century, modern art began to change. Artists started intervening clothes in their work as conceptual tools. In the 1960s, Marcel Duchamp started to study 'what is fine art?' He tried to perform anti-aesthetic work that denies traditional types and contents of fine art by reconsidering a concept of fine art that started a new chapter of conceptual art in the late $20^{th}$ century. Conceptual art is about concepts and ideas of the work rather than aesthetic and material concerns for the challenges traditional ideas. Conceptual art asks audiences for more active reactions. For these reasons, semi logical ideas and clothes became very important to conceptual art. This study categorizes and analyzes various roles of clothes in conceptual art. Conceptual arts since 1960 were studied in this research and the works of clothes were intervened were analyzed. The types of using clothes in conceptual art can be divided into 'ready made,' 'intervention,' 'data type,' 'language,' and 'action and process.' The different types were mixed together rather than used alone. Conceptual artists tried to deliver the characteristics and attributions of modern society through clothes. They expressed criticism of political society, anti war movements, absence caused by death, new lives, violated femininity, changed meanings of marriage, and absence of individual rights under the social system in their work. Clothes played their roles as concepts of various things including violated femininity, illusions of politicians, autocracy, new lives, social systems, and regulations.

• Review of Culture and Economy
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• v.17 no.2
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• pp.3-28
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• 2014

The characteristics of performing arts differ from those of utilitarian goods in terms of economics. Factors other than price need to be considered to understand the demand for performing arts. Audience surveys as well as econometric demand studies have confirmed that socio-economic factors such as age, income, employment, and education are major determinants of the demand for performing arts. This study focused on the attributes of concerts rather than consumer characteristics to determine the concerts audiences select in terms of transaction cost. Genre, price, internet search trends, and the purpose of performance as well as price are tested as determinants of demand by using the data set for a major concert hall in Seoul. Genre and the specific purpose of concerts influence the demand for concerts. Internet search trends of the performer are used as indicators of popularity and information exposure, which are positively correlated with demand. This result supports the hypothesis that larger audiences would attend concerts that require lower information search costs. To note, price has a positive effect on demand in the higher price range, which means that concerts at higher prices attract larger audiences, whereas normal goods have a negative slope in the demand curve. This result can be explained by the hypothesis that consumers use price as an indicator of the quality expected of a concert. Transaction cost for selecting classical concerts thus forms an inverse-U shape curve against ticket price. These results provide some explanation of why audiences of classical music choose to attend concerts at high ticket prices while offering evidence in favor of the hypothesis that performing arts are selected in a social context.

• Journal of Digital Contents Society
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• v.9 no.2
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• pp.177-185
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• 2008

It was a special phenomenon in the art of 20th century that the earnest engagement of spectators came up to the surface in the area of artwork-creation and art-experience which had been one-sided processes for a long time. Such a genre of Optical art or Kinetic art, had pulled out active engagements of audiences in enjoying diverse works, played the role of locomotive in the Interactive Art. Of course, many kind of art made an appearance on the channels of diverse media from that times. For example, many people came to enjoy taking part in such a genre as Happening formated the mode of face-to-face communication between the creator and the spectator. The appearance of the technology of digital media had a decisive influence on the area of the Interactive Art. From that time on, people have come to accept the reciprocity of the relations between artist and spectator naturally. This paper makes researches on some trends in the development of Interactive Arts by way of analyzing some representative Interactive Artworks typing the birth and growth of Interactive Art.

• International Journal of Advanced Culture Technology
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• v.11 no.2
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• pp.64-72
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• 2023

This paper discusses the technical exploration of Ang Lee's cinematic works and the unique visual beauty he presents. Ang Lee has successfully tackled various themes and genres, creating films that harmoniously blend Eastern and Western cultural sensibilities. These films are technologically innovative and show the interaction between technology and art, industry and culture. Therefore, this paper analyses the correlation between film technology and visual beauty in Ang Lee's works, and explores the discourse on how the relationship between film technology and art has changed with the development of film. Furthermore, this paper aims to provide insights into how technological innovation can enhance artistic creativity. The contribution of this study lies in the in-depth exploration of the relationship between film technology and art, with a focus on technological innovation and the visual beauty in Ang Lee's works. The research findings reveal that Ang Lee's films showcase the application of advanced technologies, captivating audiences with their unique visual aesthetics. The utilization of emerging technologies enables his films to possess not only visual impact but also convey profound emotions and themes. We conclude that technological innovation in film not only provides artists with more creative tools and expressive techniques but also, when combined with artistic sensibilities, creates captivating and visually expressive cinematic works. This discovery offers a new perspective for film production and opens up greater possibilities for collaboration between artists and technology experts.