• English Language & Literature Teaching
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• no.3
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• pp.185-201
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• 1997

This study explores perspectives on responding to EFL students' compositions at the semantic level. In the last three decades, there has been a shift from product-oriented approach to process-oriented one to teaching writing. The shift has led to the criticism of the traditional view on teacher response. The traditional view has been under attack for its overemphasis upon form and ineffectiveness on improving student writing skill. It is also noted that research into students' reactions to the traditional teacher response has been inconclusive. The process-oriented approach, on the other hand, draws its attention to meaning and the logical development of thought as well as linguistic matters. In this context, the present study discusses what EFL teachers need to take into account in providing the semantic-level feedback on students' compositions. Firstly, teacher response to student writing is on-going; teacher feedback involves teacher intervention in the drafting process, the revision process, and the presentation of product. Secondly, in the writing conferences, the teacher provides students an opportunity to talk about writing, assistance and advice on the content/meaning of the written text, helping them expand and clarify thinking about audience(reader) and purpose.

• International Journal of Contents
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• v.16 no.3
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• pp.51-65
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• 2020

Narratives arouse diverse and rich affective responses to recipients, and this is one of the reasons why narratives are universal and popular. Computational studies on narratives have established a formal model or system of the affective response based on the theory in psychology or media research, and have analyzed or generated a narrative that can evoke a specific affective response. In this paper, we propose a new computational model that can detect the affective response expected to appear in the narrative based on the narrative agent's knowledge. First, we designed a narrative representation model that can elaborately express the event structure and the agent's knowledge as well. Additionally, an analysis method was proposed to detect the three affective responses and the related situational information. Then, we validated the model through a case study about an actual movie narrative. Through the case study, we confirmed that the model captures the affective responses of the audience. The proposed model can be effectively used for the narrative analysis and the creation that must consider the affective responses of the recipient.

• The Journal of the Korea Contents Association
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• v.18 no.2
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• pp.652-660
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• 2018

The common point between and is that the immersion was high at the point where all the place movements occurred in the narrative before the full-blown incident occurred. The immersion level showed the maximum at the turning point that passed to the place. Seven key events occur, and the audience's immersion is peaking at the time of each incident. The core event and the immersion are highly correlated. It is at a point where the background, such as movement from the third act, where the most central event is solved, or return to the original place, is changing. The immersion degree of the audience is closely related to the narrative from the first film to the third film of the narrative.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.26 no.12
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• pp.1838-1845
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• 2022

Due to COVID-19, the face-to-face on-site exhibitions were not held. With this opportunity, technologies such as virtual reality/augmented reality are increasing attention, and these technologies are being used in many fields. In this study, we made a virtual exhibition content which was produced using virtual reality technology. Our virtual exhibition was held in parallel with the on-site exhibition that included the same contents. Also this exhibition provided an opportunity to realistic experience using the head mounted display. In order to provide a high sense of presence, we created an open virtual space and used realistic 3D objects and textures. Although it is a virtual exhibition, the audience can experience a sense of realism like an on-site exhibition. After the exhibition was over, a survey was conducted on the audience who participated in both the on-site exhibition and virtual exhibition to analyze their responses. As a result of the survey, the similarity and immersion of the virtual exhibition were highly evaluated.

• The Journal of the Korea Contents Association
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• v.10 no.8
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• pp.168-176
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• 2010

Audience observing visual media with care experience lots of emotional transition according to characteristics of media. Enjoy, sadness, surprising, etc, a variety of emotional state of audiences is often arranged by James Russell's 'A circumplex model of affect' utilized on psychology. Especially, in various emotions, 'Uncanny' mentioned by Sigmund Freud is represented a sharp medium existing in a crack of clearly emotional conception. Uncanny phenomenon is an emotional state of changing from unpleasant to pleasant on an audience observing visual media is been aware of immoral media generally, therefore, because this is a positive state on a social taboo, we need to analyze with a scientific analysis clearly. Therefore, this study will organize James Russell's 'A circumplex model of affect' and uncanny phenomenon, will be progressed to establish a hypothesis about a state of uncanny on audiences observing visual media and analyze results of the physiological signals experiment based on ECG(Electronic Cardiogram), GSR(Galvanic Skin Response) signals with distribution, distance, and moving time in a circumplex model of affect.

• Journal of Digital Convergence
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• v.19 no.11
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• pp.471-483
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• 2021

The purpose of this study is to find out audience' response of virtual influencer at the starting line of virtual influencer marketing. Therefore, posts, comments, number of likes, and video reviews were collected from Instagram of virtual influencers active in Korea. Python 3.7 and Textom were used for data collection and analysis. Sentimental analysis showed that the rate of positivity was higher than the rate of negativity and neutrality. The appearance of virtual influencer was found to be a major factor in both positive and negative. Consumers' interest in virtual influencer could be inferred from the neutral sensibility. This study is meaningful in that it presented data to help establish strategies for virtual influencer marketing by examining consumer reactions to virtual influencer and identifying factors of positive and negative emotions toward virtual influencer.

• Journal of Digital Convergence
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• v.18 no.12
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• pp.533-541
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• 2020

This study aims for investigating the consumers' reaction to the New Hanbok Style of K-pop idol groups. We collected YouTube videos and user comments that include 'Black Pink New Hanbok' as a keyword, applying social network analysis and sentiment analysis. First, the New Hanbok of Black Pink was designed as a mini-dress to make it easier to dance and turned out that it reinterpreted traditional elements modernly. Second, the issue about revealing costumes appeared as a keyword in domestic reactions, it did not appear in international reaction. Third, as a result of sentiment analysis, international audience viewed New Hanbok outfit more positively than domestic audience. This study is significant in that it suggests the direction to which New Hanbok should head to by investigating extensive consumers' reaction and finding out the positive and negative elements of New Hanbok.

• The Journal of the Korea Contents Association
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• v.20 no.5
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• pp.261-270
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• 2020

In film, color is a tool for storytelling and a metaphor for a story's theme. This study constructs efficient and objective data by analyzing color images of movies delivered to the audience. This Research the visual perception process of color in films and studies the processes accepted by the audience. Through this research process, we examine the emotional response caused by the visual stimulus of film color and quantify the visual factor through color in the film as a factor that effectively induces the emotional response of viewers who watch the movie. This study analyzes the mise-en-scene of Wes Anderson's film, Royal Tenenbaum, and studies the role of communication in cinematic colors. Quantitative analysis of color distribution data is performed using computer color analysis program on the colors displayed through 10 chapters of mise en scene. Through color analysis, it was analyzed that Anderson composed the movie scenes in red and yellow red (YR) with low saturation and medium brightness. Through this analysis, we study how color is used throughout the film and how the quantitative form of its use is to be used as the psychological factor controlling audience's emotion.

• Journal of Korea Society of Digital Industry and Information Management
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• v.12 no.3
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• pp.181-204
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• 2016

Recently, the exhibition industry based on digital archive has been rapidly growing and the industry sees an innovative change with diverse digital archive exhibition venues emerging. Enabling visitors to enjoy new and varied exhibition provides a turning point to the exhibition environment. In today's world where IT (Information Technology) leads social changes, new framework and contents are required to establish digital culture that connects traditional culture with advanced information telecommunications. The objective of this study is to identify factors that influence the audience in a digital archive exhibition venue and to analyze impacts of these factors on exhibition success based on immersion and satisfaction. The study presents a research model that applies significant variables of emotional response theory in which fundamental psychological desire of humans is emphasized. To empirically verify the research model, the author conducted a survey for students of S university in Seoul and for ordinary people who have been to digital archive exhibition venues.

• Journal of Korea Game Society
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• v.12 no.1
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• pp.57-65
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• 2012

Interactive games allow users to obtain embodied experience using the bodies as controllers. The same is true in interactive media arts where users engage in active participation. In contrast to video games, physical body feedback is desired and such practice can be found in robotic arts. I suggest that interactive media arts and interactive games should share common foundations. In this context, I introduce and explain an interactive robotic art work implemented. This work is a musical instrument that employs a robot which travels sitting on two strings in response to audience positions. In results, the robot modulates the vibrations of the strings by causing the effective lengths of the strings changed. The robot uses an economic multi-cell proximity sensor in order to track the audience. In the interaction, phenomenological tension could take place in the performative narrative space. In this paper, I discuss this interactive robotic work in the context of interactive games with a few examples.